Exhibitions, Italy, Napoli, 18 May 2014
It was inaugurated on Friday, May 16th at 19:00 at the Naples Area Eventitre the solo exhibition of James Montanaro "In the Middle of Nowhere " by the Gallery of meeting Rob Shazar , the exhibition will be open until June 27 . The new project by artist torrese , nearly six years after the previous lava wall , shows a surprising news : the absence of any trace of the human figure. It is alleged and evoked in the 50 works in the exhibition: abandoned industrial buildings , wrecks social , economic waste , lost in a white desert and lonely. In the paper critical of Gloria Gradassi she tells us: " The artistic career of James Montanaro is evolving with a consistent legible in all his work . A unique alloy wire turns , the years , the new dynamics that feed on previous developments and insights. It ' rare to find this consistency today in the work of art , as the spectacle of making art , the great exhibitions, and excessive communication internationalisms fill a stage and empty very often done only for consumption. The artist is projected in this chaotic world that can stun and cancel personality creative potential . If today I were to give advice to an artist I would tell him to watch, learn everything very quickly and then run away and take refuge inside himself , trying to forget and try to express his creative force. I would tell him not to even pursue the international success following the footsteps of others, because art is not proporzianale its recognition , and that the aspiration of an artist should not be to have a successful pop star . I do not think that will continue to reassert models of the recent past, and that the prevalence of language and shared processes will replace the need for authenticity precious now , which will look at the users and creators of art. James Montanaro has its own essence , which mixes the mental image as a synthesis of the visible to the painting as a gestural operation .
It is a very fast and liquid painting , yet calibrated , which uses light as an element that defines the contours and shapes of a synthetic image . His virtuosity is done , unique , and involves short body and mind become a virtual camera that captures light to project it on a sensitive surface . But if the camera is used in the classic sense of an image stops suspending it within a frame, Montanaro light not only shows us the power of sculpture but also the vibrations that illuminate the images of restless dynamism. The forms are electric , and the repetition of some subjects also introduces the dimension of time and the speed of memory futurist , he does spend before us forms , no longer exhaustible at first glance. The visible is filtered , decanted in an appearance as bright , eloquent and essential. The historical references of extraordinary thickness are varied in this work, mental visible from the scan made by Cézanne, the restless dynamism of Futurism , to the prophetic spatial environments of Fontana, Pollock's dripping , chronophotography and more, but no doubt none of these colossal matrices runs out the multi-faceted and original work of Montanaro . But just about artistic authorship , it seems to me a significant biographical element which shows the consistency in evolution. Academy of Fine Arts in Naples Montanaro was a student of Augustus Perez, a remarkable sculptor who could impart dynamism and vitality to the surface , especially in the sketches, manipulating the material with a studied awareness. All of these skills , which certainly derive each artist for a good part by an innate gift , certainly belong to the sensitivity of the Highlander that has sapute transfer from the scope of a sculpture in the traditional sense , to a highly personal and contemporary painting , made acid on photographic paper. Knowing how to vibrate the matter has become mental act because it is in the thought of the real, visible in rewriting the code , which arises painting Highlander . Technically, use an acid on photographic paper means impress irreversibly support . And ' required considerable knowledge and great control . Montanaro works very quickly, but without entrust the performance to chance. And ' focus , the whole body is tense and innervated by a pulse that , by the time the action takes driving movements in an impressive sequence of gestures that seem almost a martial arts combat . Body and mind are indistinct , the look is all in the process , and forms emerge suddenly before the eyes of the beholder, as in an alchemical creation . It feels a certain tension witnessing a performance by Montanaro , similar to that of a birth.
At first, the media is like a black board lying on the ground , the artist starts to go around in a walking ritual , in which it seems that studies the space , movements, while charging voltage to give the right impetus to his " brushstrokes . " A few years ago, under the immense sky of Matera , seeing an action I thought I saw a primitive man stone affect the sign of his presence and of his hope. The gesture is spectacular, very fast, almost everything was already written, only to be discovered. In the great synthesis Highlander seeks the essence of things, the elimination of the superfluous , to arrive at a sign calibrated and very communicative . Polar opposites meet and merge in his works, on the one hand the sign sculpturing, carving, discarding the excess with clarity , the momentum of the other dynamics that amplify the vibrations and forms . All mixed together in a balance that crystallizes under our eyes by highlighting some basic elements of creation. Goethe said , " The depths of foreboding , a safe view of this , the depth of mathematics , the height of reason, precision physics, the acumen of intelligence, a noble and imaginative fantasy, loving the taste of the sensible , nothing all this must fail for the living and fruitful conquest of the soul, from which it can be born only a work of art , whatever its content. " The artist then creates not following the impulse of his feelings messy , or giving space to a much randomness automatic for free tablets energies , follows a hunch that combines polished the laws of nature , knowledge, with fantasy and imagination . It's all here in this unparalleled wisdom, the secret of the great artists . The intuition is that perfect idea , regardless of content , is a magical balance between instinct and language. Montanaro owns the wisdom of the designers , the knowledge of those who know that the idea has its focal points , that you should not overload it not to drown in a decomposed do . His artistic project is to refine more and more every gesture , cancel descriptive paraphrase and put together a few visible signs that make her intuition . One of the most representative works of the years 2007/2008 is Lava Wall , a large painting in which the red and yellow on a black background evoke a volcanic eruption that befalls bodies on the run, decomposed extreme event . The lava slide from above, as a relentless rain of fire , the figures are stripped , reduced to mere dummies , yet able to communicate a tragic feeling . Everything is in motion , man and nature are one , over time. Lava wall is also the title of an exhibition in 2013 at the MAV of Herculaneum in which the great painting of 2008 has become part of an installation and has created a series of works , very elegant, in which the artist has intervened on some photographs that represent the casts of people who died in the eruption of Vesuvius in 79 AD .
The expressions of the victims are touching, seem men still alive who try to escape the lava red chasing them . Montanaro gave body to an emotion suspended in time forever of these men, who with pity still we are to observe, and the power of nature, unstoppable overwhelms life . The depiction and pictorial acid, in comparison revitalizes, while past and present meet in a balance of color and black and white vibrant. Beyond this step, there is a moment of suspension in the work of Highlander in which the brushwork acid , absolute surrender and turn in works by different colors , becomes the sole protagonist excluding any figurative reference . They are the works of the 2009/2010 , in which gesture and light intertwined in abstract color harmonies , almost musical improvisations . Dynamic gestures stand out on dark backgrounds , enhance the light and appear as signs of an alphabet iconic manifold. Space is perceived as a field in which electric shock condense into flashes of color . If the investigation of the human body with its own dynamics and the relationships between the figures, were the subject of the investigation Highlander in the early years of " painting sour " , today the artist's attention has shifted to the urban environment and the building architectural understood as the aggregate volume . This shift has had its double in the evolution of color, who now has a whole new center of gravity : the new white support has been replaced by the black of funds and the painting was as reversed from negative to positive , the touch is no longer a graffiti but a haze chiaroscuro , colors, lower body injury in volumes harmonic dynamism finally , there is the repetition but in the form and brushstroke . Gestures, subsided into the new structures , feeds a composition less nervous , as if the expressive urgency , and that sense epic that accompanied the simplified human figure , had turned into something much more content and dense. A turning point already started to work as Suburbs (2012), an installation in which the human figure is ejected from the frame of the painting , focusing instead on an industrial landscape , became the scenic backdrop on which the figure is bound to be anonymous as the landscape and made of the same material color , sour and very turned on. From here on the peripheries become the main subject of a painting very light and liquid . Montanaro in these recent works using the acid sometimes with the delicacy of a watercolor , departing from the gestures of his previous electrical work . Industrial buildings are geometric shapes through which the artist probe all the different shades of color and depth of his brushwork . By comparison with the analytical descriptiveness of a genre that has given so much in the picture , these peripheries appear as unconscious fantasies , as well as pictorial visions into reality is completely transformed and reinterpreted according to a code able to reinvent and create an intrigue
vision that has the taste of the new and most leading indelible mark of James Montanaro . A turning legible sign of continuity , and also suggests how the subject is to the artist no longer evocative of an element around which joins his drive to do painting, which remains at the core of all its search . The painting , which shows even today as inexhaustible genre , able to regenerate and create parallel universes , has in itself a repository of linguistic stratifications that in their infinite variety and richness , are as genetic codes subject to continuous change. Each artist has his DNA , that sign that allows us to compare works created at different times by finding , despite the discontinuity , the common element . In the recent series of suburbs presented here , it belongs to the series " In the middle of Nowhere ," you can in fact read the same gestures of the first works of Giacomo Montanaro mixed with a mental scan that filters out visible in aggregate volumes . The figure of the artist is shown again in a painting that was founded on principles clearly identified , however, delves into new suggestions . The suburbs are not described in detail , are undefined places , but not the non-places of the ramped globalism ; and the nothing that is lost is actually not so much the end of the world as that of the soul : a pure white in which the forms may appear or disappear , depending on how we look at them . Give a shape to nothing further is the attempt of a painting that is now entering a phase more intimate and poetic , a form of resistance to the temptation to dispel any sign. In some works in black and white, the essential color looks like a last bastion which makes it by far the painterly gesture Processing synthesis of a decade ; in every single brushstroke is all the way to an almost sculptural painting , a painting that stands out when it builds on white backgrounds , will find a way , though small in the vastness of the indefinite . The brushwork Highlander is like a beating heart nell'inconoscibilità being, a breath, sometimes frantic , sometimes relaxed, content or flashy, perhaps a way of saying that art never loses its power of enchantment " .
USEFUL Info: Eventitre - via T.G. Blanch, 23 80143 Naples - tel +39 0810484111 - infoe23@gmail.com Gallery The meeting Rob Shazar , Via Diaz, 26 - Sant'Agata de 'Goti (BN ) tel . +39 0824 832837 mob . +39 339 1532484 shazar@virgilio.it www.galleriashazar.com - VISITING HOURS : Monday - Friday 16.30 / 19.00 - Other days on request by appointment
John Cardone
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It is a very fast and liquid painting , yet calibrated , which uses light as an element that defines the contours and shapes of a synthetic image . His virtuosity is done , unique , and involves short body and mind become a virtual camera that captures light to project it on a sensitive surface . But if the camera is used in the classic sense of an image stops suspending it within a frame, Montanaro light not only shows us the power of sculpture but also the vibrations that illuminate the images of restless dynamism. The forms are electric , and the repetition of some subjects also introduces the dimension of time and the speed of memory futurist , he does spend before us forms , no longer exhaustible at first glance. The visible is filtered , decanted in an appearance as bright , eloquent and essential. The historical references of extraordinary thickness are varied in this work, mental visible from the scan made by Cézanne, the restless dynamism of Futurism , to the prophetic spatial environments of Fontana, Pollock's dripping , chronophotography and more, but no doubt none of these colossal matrices runs out the multi-faceted and original work of Montanaro . But just about artistic authorship , it seems to me a significant biographical element which shows the consistency in evolution. Academy of Fine Arts in Naples Montanaro was a student of Augustus Perez, a remarkable sculptor who could impart dynamism and vitality to the surface , especially in the sketches, manipulating the material with a studied awareness. All of these skills , which certainly derive each artist for a good part by an innate gift , certainly belong to the sensitivity of the Highlander that has sapute transfer from the scope of a sculpture in the traditional sense , to a highly personal and contemporary painting , made acid on photographic paper. Knowing how to vibrate the matter has become mental act because it is in the thought of the real, visible in rewriting the code , which arises painting Highlander . Technically, use an acid on photographic paper means impress irreversibly support . And ' required considerable knowledge and great control . Montanaro works very quickly, but without entrust the performance to chance. And ' focus , the whole body is tense and innervated by a pulse that , by the time the action takes driving movements in an impressive sequence of gestures that seem almost a martial arts combat . Body and mind are indistinct , the look is all in the process , and forms emerge suddenly before the eyes of the beholder, as in an alchemical creation . It feels a certain tension witnessing a performance by Montanaro , similar to that of a birth.
At first, the media is like a black board lying on the ground , the artist starts to go around in a walking ritual , in which it seems that studies the space , movements, while charging voltage to give the right impetus to his " brushstrokes . " A few years ago, under the immense sky of Matera , seeing an action I thought I saw a primitive man stone affect the sign of his presence and of his hope. The gesture is spectacular, very fast, almost everything was already written, only to be discovered. In the great synthesis Highlander seeks the essence of things, the elimination of the superfluous , to arrive at a sign calibrated and very communicative . Polar opposites meet and merge in his works, on the one hand the sign sculpturing, carving, discarding the excess with clarity , the momentum of the other dynamics that amplify the vibrations and forms . All mixed together in a balance that crystallizes under our eyes by highlighting some basic elements of creation. Goethe said , " The depths of foreboding , a safe view of this , the depth of mathematics , the height of reason, precision physics, the acumen of intelligence, a noble and imaginative fantasy, loving the taste of the sensible , nothing all this must fail for the living and fruitful conquest of the soul, from which it can be born only a work of art , whatever its content. " The artist then creates not following the impulse of his feelings messy , or giving space to a much randomness automatic for free tablets energies , follows a hunch that combines polished the laws of nature , knowledge, with fantasy and imagination . It's all here in this unparalleled wisdom, the secret of the great artists . The intuition is that perfect idea , regardless of content , is a magical balance between instinct and language. Montanaro owns the wisdom of the designers , the knowledge of those who know that the idea has its focal points , that you should not overload it not to drown in a decomposed do . His artistic project is to refine more and more every gesture , cancel descriptive paraphrase and put together a few visible signs that make her intuition . One of the most representative works of the years 2007/2008 is Lava Wall , a large painting in which the red and yellow on a black background evoke a volcanic eruption that befalls bodies on the run, decomposed extreme event . The lava slide from above, as a relentless rain of fire , the figures are stripped , reduced to mere dummies , yet able to communicate a tragic feeling . Everything is in motion , man and nature are one , over time. Lava wall is also the title of an exhibition in 2013 at the MAV of Herculaneum in which the great painting of 2008 has become part of an installation and has created a series of works , very elegant, in which the artist has intervened on some photographs that represent the casts of people who died in the eruption of Vesuvius in 79 AD .
The expressions of the victims are touching, seem men still alive who try to escape the lava red chasing them . Montanaro gave body to an emotion suspended in time forever of these men, who with pity still we are to observe, and the power of nature, unstoppable overwhelms life . The depiction and pictorial acid, in comparison revitalizes, while past and present meet in a balance of color and black and white vibrant. Beyond this step, there is a moment of suspension in the work of Highlander in which the brushwork acid , absolute surrender and turn in works by different colors , becomes the sole protagonist excluding any figurative reference . They are the works of the 2009/2010 , in which gesture and light intertwined in abstract color harmonies , almost musical improvisations . Dynamic gestures stand out on dark backgrounds , enhance the light and appear as signs of an alphabet iconic manifold. Space is perceived as a field in which electric shock condense into flashes of color . If the investigation of the human body with its own dynamics and the relationships between the figures, were the subject of the investigation Highlander in the early years of " painting sour " , today the artist's attention has shifted to the urban environment and the building architectural understood as the aggregate volume . This shift has had its double in the evolution of color, who now has a whole new center of gravity : the new white support has been replaced by the black of funds and the painting was as reversed from negative to positive , the touch is no longer a graffiti but a haze chiaroscuro , colors, lower body injury in volumes harmonic dynamism finally , there is the repetition but in the form and brushstroke . Gestures, subsided into the new structures , feeds a composition less nervous , as if the expressive urgency , and that sense epic that accompanied the simplified human figure , had turned into something much more content and dense. A turning point already started to work as Suburbs (2012), an installation in which the human figure is ejected from the frame of the painting , focusing instead on an industrial landscape , became the scenic backdrop on which the figure is bound to be anonymous as the landscape and made of the same material color , sour and very turned on. From here on the peripheries become the main subject of a painting very light and liquid . Montanaro in these recent works using the acid sometimes with the delicacy of a watercolor , departing from the gestures of his previous electrical work . Industrial buildings are geometric shapes through which the artist probe all the different shades of color and depth of his brushwork . By comparison with the analytical descriptiveness of a genre that has given so much in the picture , these peripheries appear as unconscious fantasies , as well as pictorial visions into reality is completely transformed and reinterpreted according to a code able to reinvent and create an intrigue
vision that has the taste of the new and most leading indelible mark of James Montanaro . A turning legible sign of continuity , and also suggests how the subject is to the artist no longer evocative of an element around which joins his drive to do painting, which remains at the core of all its search . The painting , which shows even today as inexhaustible genre , able to regenerate and create parallel universes , has in itself a repository of linguistic stratifications that in their infinite variety and richness , are as genetic codes subject to continuous change. Each artist has his DNA , that sign that allows us to compare works created at different times by finding , despite the discontinuity , the common element . In the recent series of suburbs presented here , it belongs to the series " In the middle of Nowhere ," you can in fact read the same gestures of the first works of Giacomo Montanaro mixed with a mental scan that filters out visible in aggregate volumes . The figure of the artist is shown again in a painting that was founded on principles clearly identified , however, delves into new suggestions . The suburbs are not described in detail , are undefined places , but not the non-places of the ramped globalism ; and the nothing that is lost is actually not so much the end of the world as that of the soul : a pure white in which the forms may appear or disappear , depending on how we look at them . Give a shape to nothing further is the attempt of a painting that is now entering a phase more intimate and poetic , a form of resistance to the temptation to dispel any sign. In some works in black and white, the essential color looks like a last bastion which makes it by far the painterly gesture Processing synthesis of a decade ; in every single brushstroke is all the way to an almost sculptural painting , a painting that stands out when it builds on white backgrounds , will find a way , though small in the vastness of the indefinite . The brushwork Highlander is like a beating heart nell'inconoscibilità being, a breath, sometimes frantic , sometimes relaxed, content or flashy, perhaps a way of saying that art never loses its power of enchantment " .
USEFUL Info: Eventitre - via T.G. Blanch, 23 80143 Naples - tel +39 0810484111 - infoe23@gmail.com Gallery The meeting Rob Shazar , Via Diaz, 26 - Sant'Agata de 'Goti (BN ) tel . +39 0824 832837 mob . +39 339 1532484 shazar@virgilio.it www.galleriashazar.com - VISITING HOURS : Monday - Friday 16.30 / 19.00 - Other days on request by appointment
John Cardone
Google Traduttore per il Business:Translator ToolkitTraduttore di siti webStrumento a supporto dell'export
Disattiva traduzione istantaneaInformazioni su Google TraduttorePer cellulariPrivacyGuidaInvia commenti
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