I studied and study art history and the most varied artistic techniques, trying everything and experimenting since I was a child. In all the phases of my growth, from the frescoes to the portraits, from the landscapes to the installations, the material returns continuously , in an almost obsessive way, more and more pronounced; in a sort of ritual for overcoming one's own forms of anxiety, that those disturbing objects have cast in me -as they appeared in my imagination as a child- , now I try to make them physically, up to touch them. Were they really nightmares? this is how my "Tactile Shadows" were born
This is my soul. But if I have to say why I decided to do it as a professional, I would answer by saying: just because everyone always told me "you can’t make a living with art" . On the contrary, creating and making artworks, I discovered the joy of being me, in the world.
Soap, silicones, stones, sprays, stencils, bronze, cement, wood, crystal glass mirrors, baroque, liberty, eclectic, fur, leather, latex plastics venus icons fetishes sensuality seduction study form tactility fluidity game contamination life proliferation wonder lightness wonder wonder interaction specificity possibility in not being, freeing oneself, chasing each other, walking slowly, imagination that observes, that calls. Fight. Cross the threshold of a room of wonders. Traveling the world by acquiring memories and traditions through the artifacts that convey its contents, and then reliving the experience through iconic objects such as souvenirs, whether precious or knick-knacks of little value, is one of the most romantic attitudes we have towards travel . But if on the contrary we did not know these places and we tried to discover them through the objects that tell them? What if instead of reliving them by using logical deductions, we tried to do it only through fantasy?
This is the essence of Flavio Tiberio Petricca's visual arts
Textures is an ongoing series revealing patterns found in different landscapes across the US. I have been living on the road for three years and have been completely inspired by the slow evolution of nature...
Inspired by the Italian art he grew up with, Fortuna started to imagine the story behind the paintings. Fortuna interprets those elements by giving them the third dimension + as he says ''contaminating'' them with contemporary color- connecting the old tradition of Italian painting with a pop-art way of expression.
10 years ago Jonatan Alfaro found the most natural way to communicate. He replaced his words for brushes and instead of trying to make people understand what he was feeling through speech, he painted. Jonatan grew up in a rural area in Costa Rica, in a village where he says, time passes much slower and that although none of his family members has had an artistic background, there was always a common thread between him and art.
I'm inspired by my own ups and downs, because that's when I want to escape the most, that's when I want to create something that helps me get away, but I'm also inspired by things I see and dream of and surround myself by.
Maldha Mohamed is a self taught contemporary artist from the archipelago of the Maldives islands. Her body of art focuses on giving a physical embodiment to the thoughts and feelings that dwell inside her psyche, and often depict women in dream-like manners. She also specializes in interpreting human behavior and anatomy.
Fabio La Fauci’s work, often inspired by Surrealism, Abstract Expressionism and Minimalism, and oscillating between abstract atmosphere and organic reality, escapes all attempts at artistic classification. His works’ intrinsic plastic ambiguity enables a transformation, the passage from one form to another form and from one meaning to another meaning.
Jin Shan is one of the most promising artists of the younger generation in China. He works in different media to reflect the daily life of young people in contemporary China. He is a leading voice in an emerging generation of socially engaged contemporary artists in China, and an agent provocateur.