Classical Art for the Modern Age: Pushing Boundaries in Contemporary Art
As an artist, my work is deeply rooted in the traditions and techniques of classical art, particularly those of the Baroque, Renaissance and Romanticism periods. I believe that these artistic movements have a timeless quality that transcends the fads and trends of contemporary art, and that they offer a depth and richness that is unmatched by other styles.
One of the central pillars of my artistic practice is life drawing. For me, there is no substitute for drawing from life as a means of capturing the essence and beauty of the human form. The process of life drawing requires a deep understanding of the human body and its proportions, and it demands a level of focus and concentration that is hard to achieve through any other means. By working from life, I am able to imbue my drawings with a sense of vitality and energy that cannot be replicated through photographs or other forms of reference material.
Another key area of focus for me is portraitdrawing. I find that there is something deeply rewarding about capturing the likeness of a person through drawing. Whether it is a friend, a family member, or a complete stranger, I feel that the process of creating a portrait is an act of empathy and connection. Through the act of drawing, I am able to enter into a relationship with the person I am drawing, and to explore the nuances and complexities of their personality and character.
My work is also heavily influenced by still life and interior drawing. I am drawn to the sense of timelessness and elegance that is inherent in these subjects, and I find that they offer a sense of quiet contemplation that is hard to find in other areas of modern life. By focusing on the details of everyday objects, I am able to explore the beauty and complexity of the world around me, and to create works that speak to the enduring nature of classical art.
One of the mediums that I use most frequently in my work is charcoal. I am drawn to the expressive qualities of this medium, and I find that it is particularly well-suited to creating nuanced and evocative drawings. Charcoal has a certain softness and subtlety that is hard to achieve with other drawing materials, and it allows me to create works that are both technically precise and emotionally resonant.
In terms of technique, my work is heavily influenced by academic drawing. I have spent years studying the techniques and methods of the great masters of classical art, and I am always striving to improve my own skills and abilities. Academic drawing requires a level of precision and attention to detail that is hard to achieve through other means, and it demands a level of discipline and dedication that is essential to the artistic process.
Another key aspect of my artistic practice is my interest in the great thinkers and philosophers of the past. I am particularly drawn to the works of Aristotle, whose ideas about the nature of reality and the human experience have had a profound impact on my work. I believe that art has the power to speak to something deep within us, and that it can help us to explore the most profound questions of human existence. Through my art, I seek to create works that are infused with a sense of meaning and purpose, and that offer a glimpse into the mysteries of the human experience.
While my work is heavily influenced by the classical art forms of the past, I do not believe that it is stagnant or outdated. On the contrary, I seek to create works that are both classical and contemporary, that are both rooted in the traditions of the past and relevant to the concerns of the present. I am always seeking new ways to push the boundaries of my own artistic practice, and to create works that are innovative, exciting, and relevant to the world around us.
My artistic practice has been shaped by the various places where I have lived and studied, reflecting my personal background. My family hails from Italy, and I was born and raised in Sao Paulo, a bustling metropolis in Brazil. During my childhood, I explored the city's vibrant arts and culture scene, where I first discovered my love for drawing and painting. I started taking art classes at a young age. My family settled in the Mooca neighborhood, which has a rich history and a strong sense of community among the Italian oriundi in the city.
In my late teens, I moved to Italy, where I spent short time living and working in the Basilicata region, and specifically in the city of Matera. The city's rich history and stunning architecture left a lasting impression on me, and I found myself drawn to the classical art forms that are so prevalent in Italian culture. I spent many hours studying the works of the great masters in museums and galleries, and I was inspired by the beauty and elegance of their creations.
After leaving Italy, I spent a couple of decades living in London, where I studied at the University of East London and got my MA Fine Art degree. The city's intense art scene was a constant source of inspiration for me, and I was able to study under some of the most talented artists and teachers in the world. It was during this time that I began to refine my own artistic style, and to develop the techniques and methods that have come to define my work.
From London, I moved to the United States, where I spent short time living in West Virginia and most recently in Utah. In West Virginia, I was struck by the natural beauty of the state, and I spent some time exploring the mountains and forests that surrounded me. In Utah, I studied at the University of Utah's Fine Arts program, where I was able to deepen my knowledge of classical art forms and to hone my skills as an artist.
Throughout my career, I have been drawn to the works of the great artists of the past, particularly those of the Baroque, Renaissance and Romanticism periods. I believe that these movements offer a depth and richness that is hard to find in contemporary art, and that they can help us to explore the most profound questions of human existence. At the same time, I am always seeking new ways to push the boundaries of my own artistic practice, and to create works that are both classical and contemporary.
One area of art that I am particularly interested in is kitsch. The Kitsch Movement, a term coined by Odd Nerdrum in the late 1990s, has deeply influenced my artistic practice, especially in the area of kitsch painting. The manifesto challenges the traditional understanding of kitsch as a cheap and shallow form of art established since the 1860s and instead presents it as a rich and complex artistic movement with its own distinct aesthetics and cultural significance. Drawing on a range of artistic and philosophical perspectives, it has helped me to see kitsch in a new light and to appreciate its potential for exploring the complexities of human emotion. In my work, I aim to build on the insights and perspectives to create works that challenge our assumptions about what art can be. By embracing the aesthetics and themes of kitsch, I strive to create works that are both beautiful and meaningful, offering a new perspective on the relationship between art and society.
Ultimately, my artistic practice is driven by a deep passion for the classical art forms of the past, and a belief in the power of art to speak to something deep within us. Through my work, I seek to create works that are beautiful, meaningful, and relevant to the concerns of the present. Whether I am drawing life drawings, portraits, still lifes, or interiors, my goal is always the same: to create works that offer a glimpse into the mysteries of the human experience, and that help us to explore the most profound questions of our existence.