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giuliano giuggioli was born on the 14th july 1951 at vetulonia, one of the twelve great etruscan "lucumone" cities. the artistic training of giuliano giuggioli, has followed a path more favoured in earlier times. self-taught, he has learned ail the techniques of painting and printing; often to be found in the printing workshops, studios and on the sites of major works, forming a solid cultural and professional base. his works range from large ails on canvas, to pastels, frescoes, murals, ceramics, woodcuts, silk-screen and lithograph. his works are to be found in private and public collections and galleries in italy and abroad. he lives and works in follonica, where he has opened a permanent exhibition of his works. the travels of a sedentary man (by maurizio vanni) the question of whether a painting can be read comes spontaneously when faced with a painting, not by chance do we often talk of "the keys for such a reading". to be tuned into the iconographic and iconological content of a painting, we have to be on the same frequency as its aesthetic and intellectual content, preferably using the wavelength as selected by the artist. to interpret the works of giuliano giuggioli, we must climb into his "virtual reality machine" and travel down the uncharted wanderings of his mind, a sort of joyful anxiety that assails those that know to abandon normal reasoning to enter into the world of invention. his meanderings offer situations of great intensity, transformed by symbolism through continuous recourse to the power of the imagination. giuggioli is "condemned" to exist in a definitively temporary state, where art becomes the extension of research in a mental outer space. the ability to create figures that are "morphologically" recognisable, whilst coming from his inner inspiration. a representation that often negates the reality, to confirm a closer valour, a "personalised truth", mysterious, magical and exciting. a perfect command of perspective, of disappearing lines, of coloured masses, allow him in an essential and elegant way to hand out to the reader a sense of cairn irony, of apparent artistic solitude, that at times sets off spectacular effects on the memory. his painting is beyond the ever day and routine, acknowledging bath the stereotypes of finite beauty and its recurrence, as well as the archetypes in which life history have put down their roots. art against reality? the very height of vanity and pleasure? giuggioli does not pose these questions but unwittingly gives his answers. this is the justification for the celebration of legendary figures, of situations somewhere between the serious and the grotesque, for a symbolism that reaches now for the joyful transcendence and then for the trepidation of physical constraints. in this way the descriptive presumption is freed of the epic-surreal view of the drawing technique and is wrapped up in taste and mythical desires that reign in the depths of each one of us. giuggioli allows us aboard his "virtual reality machine", takes us beyond the apparent, beyond the tangible and stimulates us to read certain situations that which we normally fail to see in ourselves and the world around us. the pilot tries to look into the future of the world - not with a crystal ball, but rather with canvas, brushes and colours, which he converts into tens, hundreds, thousands of mental voyages... the travels of a sedentary man, in the mysteries of life. translated by w & we thomson
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