Painting of words, Painting books


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Arthink presents the first Arthink-book collection:
12 artworks by Francesco Pezzuco.


The painting of Francesco Pezzuco has a deep and inextricable connection with the ‘word’ – and seeing the ‘word’ as a mystical sign loaded with importance in its own right.
His relationship with writing is often expressed directly through the representation of letters and numbers discharged by their semantic meaning, but loaded with profound evocative value.
Out of the union between a “painting of words” and our Arthink-Book – which are “books made of painting”- this collection of 12 works was born, free adaptation of the author of works from the cycle “The Invisible and the Tangible” made between 2015 and 2016.
And it is precisely because of the strong bond of his painting with the word that I wanted his presence in the Arthink-Book editorial necklace.
Arthink-Book’s superimposed frames create a new texture, which require the observer to have a clear perceptual position of the author’s formal questions. They transform the painting of Francesco into a path of circumscribed episodes, hyperdefinited, in a poetic contrast with the evanescence and the disenchantment that the artist wants to communicate.

Pezzuco’s interview


I was born dipped inside the art and I live thank to the art in a place of perfect twin between art and nature : Sperlonga.

I choose a really plain way to be: self-taught.
I didn’t attend school of art, I always preferred the opposite: since I can remember i’ve tried to use art as a school. I remember the emotion of my first discoveries.. I was 10, it was 1967. The ruins of Villa of Tiberio in my town. I’ve always known that will be my way, but i truly decided only in the ‘80s .
In that period I was having different experiences and suddenly I found myself without a job. It was in that moment that I could really decide my life, and I’ve chosen. I decided to follow my true nature ,the artistic one, even if actually I’ve already started to make and expose my works.
I don’t use to follow particular models, even if I really like the philosophical thought of Joseph Beyus. I don’t like the “workshop” and maybe not even the figure of the “master” as it usually conceived in my field.
I live the street. The street according to me is a real opencast workshop. I live, I look around, breathing inspiration.
The relationship between man and nature is written in the biosphere. Today we live in an opposition, a contrast, due to the loss of human identity, annihilated by the self-absorption and contempt for the environment.


The man… man is at the heart,is the coordinator of earthly things, for better or worse. But it is at the same time the author and the victim of irreparable damage, because in absolute term there is a lack of truly environment culture. Also for that I use to represent human figure from a silhouette edge.
My figures present an anomalous trait: the body splitted by the head. It’s because I believe that we are prisoners in an anachronistic node : “we feed” the body but not the head. I like to test, to put the skin in the game, also with myself. The constants elements, the one doesn’t change, are worthy for me.
I prefer to “derail” from track of standard to find the way of sacrality and lay spirituality, places and values taken from the contemporary man.

The Arthink-Book collection

In this collection you can find all the themes Pezzuco likes as a visual artist. Here he attempts to unite expressive decisions and philosophical accuracy/rigour in his work. The dichotomy between humankind and nature, the existential disorientation, the need of a real culture of environment.
The thought of an artist both strong and complex is expressed at its best thanks to the expressive rigour of the A-book (separated in squares, almost as if it were part of a series).



Carlo De Meo


  • By Federica Phoebe Centore
  • July 31, 2017
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Carlo De Meo uses the autobiographical body as propeller and inspirational material. Redefining light according to habitable volumes, solid materials as complements that read just corporeity and its social postures. De Meo seeps into materials, camouflaging the body with the given colours, creates shy poses that make him a discordant distortion of the intimate landscape. Reusing everyday materials and objects with a plastic talent where poetry creates plausible functions, where the handcrafted imperfection exalts the muscular strength of the best scuplture. De Meo is a dense artist, able to tell transverse stories through his own body or through a sculptural miny copy. He doesn’t joke in the delicate power of the result.
In the pictures below Carlo De Meo at work for his collaboration with #ArthinkEditions and some of his Artworks, we invite you to have a look at his official website to find out more about this chamaleontic artist.
CarloDeMeo.com



Elena Stonaker: A chagall reminescent animated stop motion video


  • By Federica Phoebe Centore
  • July 31, 2017
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A Chagall reminescent animated stop motion video made by multi disciplinary Californian artist Elena Stonaker The beautiful roughness given by the brushed colours confirms to the artwork an undefined dreamy/nightmare atmosphere.
What do you think about it?



Mark Rothko – Vibrations


  • By Federica Phoebe Centore
  • July 25, 2017
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Rothko based his work on sharing emotions through the universal language of colours, no shapes, no symbols, just colours that meet others colours in a disciplined way. The link below shows in HD the details of his canvas, it really worths to have a look and see closer how one emotion/colour becomes another.
Do you like abstract expressionism or your emotions need a familiar shape to be expressed?



Alexander Calder


  • By Federica Phoebe Centore
  • July 22, 2017
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Today is Alexander Calder’s birthday, he was the artist that brought movement in sculpture with his mobiles. What is your favourite mobile from Calder’s work?