Exhibitions, Italy, Latina, 01 June 2011
The event, curated by Fabio D'Achille, takes place at the Tower Pontina, the 27 th floor, on Ufente, 20 - Latina, Lazio, Italy. SKYMAD will be open to the public until Sunday, June 26 by appointment 393 9661943.
MAD stands at 27 th floor of Tower Pontina. The exhibition of Art, Music and Tasting pointing at the sky with the artists Dino Catalano and Daniele Frisina.
DANIELE Frisina - Critical Profile
... From the self-portrait with the brush between the teeth of the dogs manga, the works of Daniele Frisina, born in 1980, capture you with their immediacy that is never spontaneous, but rather because every single detail candor executive, before being painted , is carefully and meticulously evaluated. Pupil of Giuliana Bocconcello, from which he borrowed expressive emotionally authentic research, however, Daniele is a cartoonist of the best kind, not instinctive, but impeccable perfectionist who meticulously prepares each job, on paper, computer, and then on canvas. But it is the color that Daniele entrusts his most authentic emotionality and somewhat hidden, although constantly fighting with those black lines, so thick, trying to close, compress, contain an authentic and passionate emotional momentum.
If you've seen them once, his work, you remember them: his men iconically inexpressive, yet tenderly melancholy, their eyes wide open but not a mouth, arms or legs because they are given no chance to get in outside communications; identify them is solid line, thick, big and black, like a snake that keeps wickedly between its coils, strong colors, which loads the symbolic-expressive, it seems not at all willing to give up. Daniele rigorously evaluate the colors (green is ambiguity, the magenta heat-goodness, the yellow power, the absence of blue) because nothing is 'flat-spotted' on the canvas without a rigorous pre-selection.
And 'as if Daniele had developed its own symbolic system, almost a sign aesthetic-expressive, compelling and reassuring as a traffic light (red stop sign in the series, go green). Seemingly easy, in fact his is a complicated job, close tightly, leaving little room for interpretation because he tries to control every detail, from the smallest to largest. And the viewer does not just have to adapt to its semantic code, respecting it. (Silvia Sfrecola Romani)
DINO CATALANO - Critical Profile
In the game of verbal associations, instinctively associated with a word that Dino Catalano painting is "Spring", perhaps influenced by the spectacle that I witness at this time from the window that overlooks the Lepine Mountains: the Judas tree in bloom, and so hawthorn, blackthorn ... the smell that rises from a delicate blossom right here below, where the squeal becomes the soundtrack of house martins.
The spring is a concentrated explosion of life, the life that takes this opportunity to express full beauty. It 'a magical, kinetic, preceded by the stagnation of the freezing cold and followed by that of the hot and dry ...
Dino likes to call himself a painter by accident, and certainly not unique among the artists to have discovered this vocation when precisely one case, violent and unexpected, was broken into more or less gradual sequence of daily events. And 'in fact, from a medical diagnosis that Dino begins to paint, sixteen years ago, a self-taught. Before then, some attempts youth but nothing more.
Since then the artist, who since the early work reveals a disturbing pattern of control and a great insight in the use of color, has demonstrated a capacity for rapid growth, in fact it seems that spring is fulfilled in him every day, as if the cycle of the seasons are alternated in his life several times a day. Forced to idle moments which repeat at intervals close, he reacts by living to the nth degree, on the canvas, the propitious moments. All is activity and movement in his paintings, where there are no lines to create the joints, are chromatic scales, very personal and sometimes on the edge of chance. Lose sight of it for a year is equivalent to losing sight of five years for a painter who carries on his business full time, and it is useless to expect to find him at work on the same subject, because in the meantime led to exhaustion and is passed to all 'else.
Visiting his studio is an experience that leaves its mark. Apart from the sympathy of the person, not just on the walls but everywhere, sometimes impossibly stacked, there are so many canvases, a crowd of wonders performed with precision tooled oil instinctive, that it takes some time out to recover. The experience is disorienting ones: one is marked internally in the long dall'abbuffata of images and colors, and as to move the space is reduced due to the mass of canvases, including several fresh and fresh, it is impossible not to be " marked "outside. (Claudio Muolo)
MAD stands at 27 th floor of Tower Pontina. The exhibition of Art, Music and Tasting pointing at the sky with the artists Dino Catalano and Daniele Frisina.
DANIELE Frisina - Critical Profile
... From the self-portrait with the brush between the teeth of the dogs manga, the works of Daniele Frisina, born in 1980, capture you with their immediacy that is never spontaneous, but rather because every single detail candor executive, before being painted , is carefully and meticulously evaluated. Pupil of Giuliana Bocconcello, from which he borrowed expressive emotionally authentic research, however, Daniele is a cartoonist of the best kind, not instinctive, but impeccable perfectionist who meticulously prepares each job, on paper, computer, and then on canvas. But it is the color that Daniele entrusts his most authentic emotionality and somewhat hidden, although constantly fighting with those black lines, so thick, trying to close, compress, contain an authentic and passionate emotional momentum.
If you've seen them once, his work, you remember them: his men iconically inexpressive, yet tenderly melancholy, their eyes wide open but not a mouth, arms or legs because they are given no chance to get in outside communications; identify them is solid line, thick, big and black, like a snake that keeps wickedly between its coils, strong colors, which loads the symbolic-expressive, it seems not at all willing to give up. Daniele rigorously evaluate the colors (green is ambiguity, the magenta heat-goodness, the yellow power, the absence of blue) because nothing is 'flat-spotted' on the canvas without a rigorous pre-selection.
And 'as if Daniele had developed its own symbolic system, almost a sign aesthetic-expressive, compelling and reassuring as a traffic light (red stop sign in the series, go green). Seemingly easy, in fact his is a complicated job, close tightly, leaving little room for interpretation because he tries to control every detail, from the smallest to largest. And the viewer does not just have to adapt to its semantic code, respecting it. (Silvia Sfrecola Romani)
DINO CATALANO - Critical Profile
In the game of verbal associations, instinctively associated with a word that Dino Catalano painting is "Spring", perhaps influenced by the spectacle that I witness at this time from the window that overlooks the Lepine Mountains: the Judas tree in bloom, and so hawthorn, blackthorn ... the smell that rises from a delicate blossom right here below, where the squeal becomes the soundtrack of house martins.
The spring is a concentrated explosion of life, the life that takes this opportunity to express full beauty. It 'a magical, kinetic, preceded by the stagnation of the freezing cold and followed by that of the hot and dry ...
Dino likes to call himself a painter by accident, and certainly not unique among the artists to have discovered this vocation when precisely one case, violent and unexpected, was broken into more or less gradual sequence of daily events. And 'in fact, from a medical diagnosis that Dino begins to paint, sixteen years ago, a self-taught. Before then, some attempts youth but nothing more.
Since then the artist, who since the early work reveals a disturbing pattern of control and a great insight in the use of color, has demonstrated a capacity for rapid growth, in fact it seems that spring is fulfilled in him every day, as if the cycle of the seasons are alternated in his life several times a day. Forced to idle moments which repeat at intervals close, he reacts by living to the nth degree, on the canvas, the propitious moments. All is activity and movement in his paintings, where there are no lines to create the joints, are chromatic scales, very personal and sometimes on the edge of chance. Lose sight of it for a year is equivalent to losing sight of five years for a painter who carries on his business full time, and it is useless to expect to find him at work on the same subject, because in the meantime led to exhaustion and is passed to all 'else.
Visiting his studio is an experience that leaves its mark. Apart from the sympathy of the person, not just on the walls but everywhere, sometimes impossibly stacked, there are so many canvases, a crowd of wonders performed with precision tooled oil instinctive, that it takes some time out to recover. The experience is disorienting ones: one is marked internally in the long dall'abbuffata of images and colors, and as to move the space is reduced due to the mass of canvases, including several fresh and fresh, it is impossible not to be " marked "outside. (Claudio Muolo)
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