Andrea Perissinotto

riempimenti sentimentali


circulos de colores y pintura


The universal and the essential


At first sight, the colours and light from Venice. Baroque mixed with Murano glass. In a second view, a wink to the Italian art from all times (classic Roman portraits, futurist repetitions by Giacomo Balla, cuttings and tearings, like Lucio Fontana) and to all artistic times (series by Warhol and shapes and colours typical from Robert and Sonia Delaunay, next to compositions which evoke Goya's and Picasso's scenes.
Halting our sight a little bit, everything seems to gyrate from a epicenter from which a series of characters, who are placed aside, burst (sometimes, they are photographs or paintings; some others, all together). But this is a convulsive and spiral movement which does not seem to stop and which carries us to a third dimension by means of glass, wires, ropes and all sorts of objects, undefining the support but defining the style, oppressing some characters and connecting some others.
Fixing the sight, the real intention of the artist can be understood. The message. In a first line, more universal: the inexorable aspect of the future, the chaos in the composition of the Guernica, the incomprehension, looking for a balance concerning a starving society, opposite to an unconcerned one, and a slight insistence towards old people, falling into oblivion.
Everything becomes ambiguous if we read it for a second time. (CONTINUE >>)

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