Pictutres Of Europe Wax

Antoniazza Arte - Numero V

The human infant
art critic to the painter Daniele De Carolis




Accustomed as we are to see Christ crucified, in poses that border on sadism, finally we find the same theme - that of the Crucifixion, so dear painters - reinterpreted. To do this is Daniele De Carolis, young and emerging artist, of Italian origin and brilliantly at that expatriate in Barcelona. De Carolis wants the Crucifixion, but do not want either Christ or the Cross. They want to recover, but, gesture, idea, posting almost artistic body in the air. And this desire leads to the end, to turn it into an illusion. Why is not the Crucifixion, but a child shapes boterianamente swollen, which can not be defined even hanged. It is a human infant, through a cloth, long, straight, rough, simbolicissima a beam of fabric, which evokes the death of Christ. The human infant tends to lift your feet and legs, as if they would not know anything about the world, and its too easy everyday life. This child, deceptively crucified and hanged, is the God of modernity, is what Christ would happen if he died now and not two thousand years ago. It would be a child, perhaps in Africa, the AIDS victim, or an Indian left in the bank of a river, born sick sick and died, with the legs already marked by evil ... feet tied, but not by a rope, but by ' inability to walk, and hands not crucified, but open, full of hope, the only thing that remains the man when he no longer knows where look: that the sky ... the sky, however, that the child does not look at De Carolis does not keep. His attachment to the flesh is such that even in the face of certain death, continues to contemplate with the eyes closed, these atoms of diseases and dirty capitalist revenge. De Carolis has the human infant, instead of the wooden beam, hard, hard to bear, now damp with regret, the shroud of Christ, which is just what it traverses, in the neck and groin, and that the beatific, makes it extraordinarily divine in its apparent proximity to death. The human infant is a little Christ, Christ, perhaps of all the atheists, especially those angry with the world, those who think that Jesus, if his is the son of God, can not but turn our gaze to the ground and his men, especially to his enemies, to expose the cowardice and the ease of which are filled with pride.
We wanted a picture so in a youth production. A distance of time, you discover how young Daniel, with this work, full of humility, has left a mark, even the sign of a mystery, at least for a second he had the ability to cross and make them feel all good and the evil that carries within it the Divine.

Carolina Biological Laboratory 4

Antoniazza Arte - Numero IV

I dream of fossil Valentina Carini
At the first Italian solo exhibition - curated by art critic Andrea Antoniazzi

difficult to find a young painter in his biography and read so much wealth, diversity. In the case of Valentina Carini, in fact, it's hard not to depart from his life, from his experience, one that is not only a passion for painting, but almost Calvinist dedication to work, the construction of a jurisdiction, in addition to the pure and simple growing interest. It reads, in fact, the Carini:

"after graduating from DAMS in Bologna address show starts working for television working as a director for Tele Montecarlo 2 to Florence and then to London for MTV. After a stay in New York as an assistant artist David Baskin, assistant Louise Burgeois for over a decade, began to study painting at the Central Saint Martins College of Art & Design in 2004 and obtained a BA Hons in Fine Art
Winner Kate Burton Award for painting at the University of The Arts in London, he returned to Italy where he continued to paint and participated in several exhibitions at the Gallery and Palazzo Ronchini Spring in Terni in 2005 is also present with some of his works to Arte Fiera in Bologna. "

critics, I invite the young artists also often write in to take a leaf from her, I mean from Carini, as a biographical approach. The painter can not just sit at home waiting for the arrival of a thrill to be transferred onto the canvas. The painter must study and to study much. Should study more the economist and lawyer, more than anyone else, perhaps even of the poets. Because the painting is an artistic act sexually, even when introduced religious subjects, is a sensual domination of the canvas, a moment of ecstasy that, in the production of the painter's mind must govern absolutely, at least away from his unconscious. Monitoring and ensuring the Carini certainly not lacking, indeed.

His canvases seem to propose a topical primordial landscape, where to look disorganized geometry shapes. It is a game of childhood memory, relived in his heart and re-presented in adulthood. The fossil Carini painted dream, broken memories, almost invisible. Paintings are very difficult to photograph. It is as if the artist uses a thin plaster to sculpt the painting, no mess, no smudges, but reporting on it just a feeling of foreboding, of something that is going to happen. In many of these paintings is a sense revived totally organic, almost physical-chemical in the world. In his paintings - easy appreciation even by a more oriented science and art - you can see everything from an explosion at a small molecular carefully arranged rock garden.

Fossils Carini's dream - so I like to call its atomic scale - are very strict on the canvas like a topographical arrangement. These paintings are small city of dreams, dream big, blooming absolutely enchanted by a mysterious, primitive, unfathomable. To paint, is very fragile soul and feel and see. But such is its weakness, as is his preparation, his dedication to academic. It is a daily commitment to creating genius the humility of the study, and the ongoing implementation of this before anything else, the Carini is an example, a reference model.

Even in his most colorful, its fossils - fossils dream - still live scattered along surfaces interrupted but never embedded, into each other. As the beautiful ball above recast, bore her to a forest of geometrized forms, a full moon split in two halves, almost a hemisphere Earth slowly rotating around its axis spreading around himself a gloomy darkness. In this sphere nestled among the branches, there is a sign of hope, a disappointment that long in coming: the world of Carini, in these veins continuously married his big hand, end up being the testimony of an artist who already has been a little architects of the Mystery.

Extreme Sensitivity To Cold Right After A Filing

Antoniazza Arte - Numero III

Collection Necrostar
art critic to the Collection of Stephen Necrostar Night by Andrea Antoniazzi

"I'm not the silent spectator of strange moments and even the ecstasy of an ending that does not arrive. I'm a wide open under immense guardian of my secrets, I am the dead man invites drinking, with me from the other world, a bitter cup of life along that end that no one knows. My painting is a strange clatter of events, long holes that never exhaust the curiosity of those who with his rough hand me the painting. Necrostar are a gallery of monstrous echoes that of the cave of death still speak. All my heroes are famous, yet no one is silent, yet they are all already buried under the ground in the world. And I, I'm just a huge picture, I'm talking to my wall hanging, waiting for the order of who's watching me. "


Necrostar If it could talk, would you say the words I just wrote. In reality, has already been said, to all those who have had the opportunity being for the first time in the history of painting, for a real, I would almost call it methodical devotion mortuary. The collection is the cemetery dinottiana pictorial image, the reconstruction mock photo of a beauty that is no longer simple decadence but true physiological state of existence which has ceased to be such. There is almost a biological image, a medical science that flows through the canvas. Marylin Monroe finally slips from bursting beauty of the buildings at one end by Andy Warhol that perhaps makes it more human, closer to us, his face is soothed by the absence of each breath, the smell of quell'aldidà where success is decided by God alone and not the stupid human applause. In the land that nobody knows where the soul of everyone, abandoned the intrusiveness of a body intended to collapse, huddles close to the Creator to snatch a bit of energy, Truth. And this is not a simple lesson of faith, but a trust devoted to the humanly ricoscenza the presence of another in our lives, whoever he is. In the paintings dinottiane, this Other is the provocation, the observation of a cruel path no longer human but simply that atomic to molecular nothing that kills every body to give rise to a new life. What if we are not bags of skin hanging from something within us cries but does not You can never touch? Subtle soul, which, if any, if still alive, can only be moved in front of a coffin that becomes the only raft back to God?
dinottiana Death is a race of heroes, suspended between the last big hello to the world, that their eyes off, and anxiety, underground, mysterious want to be reborn. In this gallery of silent respect, played on the passage to another world, waving figures sealed, stuck to the canvas with the exact same severity of a collector of insects.
at night is not the obvious love and it shows. In its operation, meets the ghost of the other in his capacity as spirit of wandering, lost soul ... some wearing the clothes of the warrior and defeat the end of their nightmare, for others still, it travels in the canvas with a sweet pair of wings resting on the shoulders es'avvicina these dying bodies shaking dirty hand of a corpse.
These bodies, hung like sacks of textured burriana memory, are the antechamber of death, not death itself ... represent the omen, the hint of a sad end that is about to fall on man, take him to the ground dreams where the artist, in addition to anything, sees the charm of a mystery.
So bite between Pasolini and the great American star, happened in the grip of the deceased, fell into the vortex of the Great mortal art dinottiana not only lends itself to a long reflection on our end, but before all that happened on his conscience, as the man in the crowd of Poe, they share the exact same shade .

What Year Did The Tahoe Change Body Style

Antoniazza Arte - Numero II

Christ Carbò ... Nice
art critic of the Christ Carbò by Andrea Antoniazzi


Carb Christ is summed up in just a couple of feet walking above water. The 'above', however, must not be misleading because the Christ of the pictorial tradition, here - in this operation - has been virtually abandoned and the originality of the brush, then, becomes just this oversight, it does not want to take such perspectives imposed by the doctrine. We are facing an underwater vision of Jesus, from below, from the sea bottom, the painter heads straight to the soles of the feet, base of the great Christian miracle.
is the Christ of the imagination, the game, which blends natural element to prove that this man is not only a miracle can not walk up a huge bluish liquid but it is nature itself, a creation which man, also as an atheist, log on as a category of existence. The God entered history, wearing the role of man, has a courage that others do not, because, in addition to his miracles, near children, wants them to himself, considering the company of your travel early Earth. And this childhood consecrated by Jesus is clear in the world play, playful, innocent of colors and a few objects that surround the Christ. Because Christ is within - carefully - not just a couple of feet walking on water. The operation is not cutting Carb: Do not borrow the character celebrated by the Catholic tradition to forget the body, leaving only a couple of canvas prints. Christ is there in all its character. It not only saves a grisly beheading on the contrary - that sees the place of feet in front of the guillotine at the head of the art - but it continues its journey in a water driven by colored shapes dreams. Water will stain white as a sign of innocence, the historical tradition and Christian tradition on one side and a-historical nature and the other (so to speak that pervades the being irrespective of his religious sense).
The painting is in fact accessible to all: anyone can enter, even without faith, without knowledge of theology, including claims of Revelation. And the size of the operation is right here: in escaping from any right-minded bigotry of the province, looking to Christ Super Star with the eyes of the man who remembers his childhood and his memories untouched. The background becomes an underwater bedroom, where the artist invites you to face the Christ of the New Testament, that simple, humble, and is not wearing a heavy suit of the Church.
is one bedroom with floor and wall, which generates, in its construction, a mismatch of geometric planes: s'incastonano feet in the middle turning the big yellow dots in a imaginary vanishing point, what we need to dream - but this only happens within us and the canvas, then, the bridge gets really fantastic.

Poem For Sister Pregnancy

Antoniazza Arte - Numero I

dialogue as possible
art critic to still lifes and landscapes by Bruno Pasqualucci by Andrea Antoniazzi

This remarkable painter fills the canvas, emptying his soul in every color . The composition of the palette does not allow any kind of choices, "everything has already been decided", it read the pictures, as actors in a show devoted to the natural death and the lost look on one end already consumed. Pasqualucci defends the death of a true champion of defeat. The body dies and therefore deserves all secular, completely external to the logic of worldly meaning. The body dies and becomes part of the living to be reused as raw material to give life to other lives. The body that dies is a pretext for dialogue exists, where death is really the end of it all just to those who lived it. For the others, which also means the non-living, the body remains in the form of a body to give the ultimate gift of nature as our presence in the world. Pasqualucci hunting dialogue possible, the universally acceptable and universally cause heartbreaks: one dies and there is no other. To the world, however, continues to be something and it's that box of meat, in the decomposition, finds its way back to the living.

Pasqualucci angel of the hearth is a world of resignation that he wants done, sometimes tragic, as in the landscape where the sky turns black and the horizon is painted a plain white ... paradoxical, then, very flat, can only be brought forth as a puzzle un'onirica resignation. The birds eventually returned to the eye of the observer as volumes are stuffed by the brush, brush a heavy, difficult, challenging his death from his real claim to immortality. And here the art, no longer the painter.