Biography
MANUEL OLIVARES
NAPLES 1967
MANUEL OLIVARES - Artist included in the list of artists Professionals for the award of construction works of art quests (GC 150 of April 5, 2006) VI Department of Planning Policy and Planning of the Territory - ROME CAPITAL PROGRAMS UO8- COMPLEX
1. The painting of Manuel Olivares refuses any a priori scheme is not
figuration, is not abstract; It is quite detailed vision and
sometimes part of a visionary microcosm that obeys rules well
precise. If today's concept of beauty has migrated from the canvases to the sinuous lines
of organic architecture, if we find the beauty into the furnishing objects
or in extreme design or the most exclusive car, it means
the artist who is sensitive to the world around him has to capture
this rhythm to create a new fusion between object and space.
2. Idea and matter meet remaining perfectly balanced,
crystallized in pure forms painted with a virtuosity that is revealed
scrutinizing the work of a brush that extends the oil painting wonder
light and shadow, returning forms and concepts: reinventing or
transfiguring them completely. It can be said that his painting it is
conceptual painting and that because it obeys primarily to an order that is mental: the rhythm does not stop and segregates forms but filters and intensifies life. The
conceptual side is not an end in itself, is not a statement on rhetoric
deterioration of art subjects and the precariousness of his events
historical, rather it is the search for a unity of reality not as
rational procedure but as emotional feeling of reality
same.
3. Manuel Olivares transformation is in everything, even in the objects
most mundane, from the tire of a car to supersantos ball, from a
plastic chair in an iron railing is a meditation on life
of things or their slow wear, on the obscure soul identity
continuing inside of things even when their existence is no longer
helpful.
Leaving from real locations: an Italy sunny, empty and
metaphysics and cutting glimpses of Fascist architecture emptied from
rhetoric and monumentality, the artist increases the images one
inside the other, like in a movie, to narrate the astonishing beauty
of this landscape, credible in the emotions just lapped.
The eye
disassembles and reassembles the vision always taking account of the background,
of the three-dimensionality of the image, of its depth of field.
4. His painting has no debt with photography, which happens to
majority of figurative and neo-pop painting, that because it is led by
perfect architecture of the parties: the center there is always the reality that
It can not be fiction and not even caption, which can not be flattened
by photo lens.
It 's as if most of the images
that interest and surprise him did not come from art or
advertising or from television, like most of the artists
working in our time, but a reality experienced through
the love for the cinema, the cinema as absolute metaphysics of the world,
cinema as an illusion, as the infinite interweaving of forms and ghosts.
5. The nearly black / white images in fact ensures a minimalism that
It does not lead to the purity of the recognizable symbolic form, but
rather type approval of the different, eccentric forms below
look of a single speech of light, so stripped, uniform and
dogged in revealing and veiling the shades of gray, and the
the same time, where each color - appropriately lit -
It borders the gray and fades in it
The black and white: white as
stratified ice: solidification, crystallization, freeze,
surface melting ... layer upon layer to define his subject,
in the folds and bends. Black as shadow, as a line of
demarcation, as the border between definite and indefinite.
6. In the layers of the vision is total immersion. The enlarged detail
of the back of a plastic chair becomes monumental, abstract,
equally geometrical as a building that stands out against the sky:
everything in the same space and at the same time, in a shallow depth in
which everything is materialized and appears.
7. A plastic chair, a shutter, a car body, they are
dissolved objects and then reassembled as you can recompose in
curvature of an image under glass or in the illusory volume
deformation of a lens, according to an infinite combinatorial logic,
a transformation from one stage to another, from one form to
allude to an unlimited mouldability.
The most infinite and unfathomable of film directors
today and always, Kubrick, at the end of the trip into the blackest
depths of space, he did find - in 2001 Odyssey
in space - a ricurvatura image, an interior inside
the inside "a glass that was breaking" and then a fetus that was reborn from
Circular egg-shaped image.
8. The uniqueness of his work is all in this hallucinatory vision, in
power of objects and their interactions, the ability to grasp
with the look the lines of force that unite them and the magnetic fields
attracting and rejecting them, the ineffable bond that intertwines and generates
energy, the secret and unexplained wave that comes from the states of
tension and balance of the representation
- In this deformation
of the vision that curve and dilates the point of view in a suspended gravity -
the arrangement of objects and forms reaches the universal in
specifically: the timelessness of the appropriate form. . The strange objectivity
to grasp the of the eternal movement. Of what is. The vortex, the trail, the
curvature, the thrill, or immobility in the light that is never motionless
because the light, by its nature, is known, changes at every instant.
Maya Pacifico
