Angolazioni dello Studio d'arte viola (2020) 写真撮影 Viola Di Massimo によって

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  • オリジナルのアートワーク 写真撮影, デジタル
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angolazioni dello studio d'arte viola この作品について: 分類, テクニック & スタイル. デジタル. 電子センサーを感光面として使用して写真を取得し、それを紙に印刷する手法。. 技術 写真撮影. 写真とは、被写体を静止画で捉えることができるプロセス、技術、素材の組み合わせを指します。写真は、写真の種類であるかどうかに関係なく、取得された画像も指します。この用語は、この手法を採用しているグラフィックアート部門を指すためにも使用できます。. 関連テーマ. Violadimassimo.com Arte Femminile Pittura Performance.
angolazioni dello studio d'arte viola

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Violadimassimo.com Arte Femminile Pittura Performance

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Viola Di Massimo, (art course at the academy of fine arts of Rome, 1994) since 1988 has been attending personal and collective exhibitions, since 2011 has been opening her study to the public for conferences and [...]

Viola Di Massimo, (art course at the academy of fine arts of Rome, 1994) since 1988 has been attending personal and collective exhibitions, since 2011 has been opening her study to the public for conferences and events concerning and presenting her works.

Viola starts her research by means of dark and well definite sign; the pencil along the paper is, according to the artist, the truth of all the work.

She pursues her research making use of oil on various materials; but this isn't enough; the communication needs other means for making it as complete as possible, so she goes on searching about videos and audios in which her other expression, voiced by theatrical monologue, is turned into audio works.

For years Viola has been opening her study to the public for exhibitions and events and in the last years she has interrelated with musicians, actors, artists, art scholars and scholars that study and analyse as an art work can have energetic influence on the surrounding environment. These meetings and this research on how art can energetically influence the environment have the aim to get other things, to go further, to know other points of view and observation vital to the artist, and may be to anyone for a larger view of his world.

I think that creating is an act of pure alchemy where the author fuses himself with the creation, with the intensity of the colours, with the strength of the forms and the might of the signs.

And the “worst” thing is that this continuous fusing will have no end: as long as an art work lives it will never finish to take new meanings, to be observed, to have on itself eyes and spirits of unlimited spectators that at any occasion will turn it again and again in a new work without end.

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