Nigredo - Julian T - Painting Original

Description: AUTHOR: Julian TITLE: NigredoTECHNIQUE: Acrylic on canvasFORMAT: 100x100 cmEXAMPLE: single piece CERTIFICATION: Authentication provided directly by the artist please note: the colors may be slightly different from those displayed on the monitor.THE WIKIARTE GALLERY IT HAS TWO TUNNELS IN THE HEART OF BOLOGNA1) VIA SAN FELICE 18 / A 2) FALCONE BORSELLINO GALLERY 2 / DWHERE YOU CAN SEE THE WORKS FOR SALE BY FIXING AN APPOINTMENTSALES DOCUMENTATION IS PROVIDED IN ACCORDANCE WITH LAW.For Payments via Paypal no additional commissionResellers interested in the works can contact us at the following email address REMEMBER TO ADD US TO YOUR FAVORITE STOREBiographical notes on the artistJulian TIt is futuristic but it does not provoke. It is provocative but does not cause scandal. It is scandalous because it makes a gesture absolute beauty. It is impact, painting with a high emotional rate. It was invented by Julian T., a twenty-seven year old who lives in a seaside town and who would like to travel the world with his proposal. Challenging him, staining him. Meanwhile, he wasted no time and got into an airship during the Venice Biennale, ahead of the project of a fake advertising campaign conceived by Mexican artist Héctor Zamora, Swarm of airships. Julian transforms the challenge into an opportunity, like that of signing his own candidacy in the lagoon by dropping a colored bowl from the sky. A black spot, a graphic and calligraphic sketch, is its expressive figure. Talking about painting would be an understatement and performance alone would confine its action to too conceptual a practice. Julian T.'s interventions owe a lot to Process Art and Action Painting but they stage it according to the spirit of the “short decade”. He wants to leave a trace and he knows he can. He is the son of the image society and of a culture that uses the tweet as a synonym of simplicity and immediacy. The sign produced by the explosion of color on a surface can be translated into a message that has the flavor of Stencil Graffiti, or Street Art. It is the tag used by graffiti artists to take over public space. For Julian T. it is the translation, in a new pictorial form, of the same emotional impact of so much commercial advertising. Impact is the imprint, the collision point between idea and its making, and the space of the canvas - in the words of the American critic Harold Rosenberg, “an arena in which to act”. Julian uses the insights introduced earlier by JACKSON Pollock, with his drip paintings, and the motto sustained by the souls of the post-war Gutai movement, Yoshihara Jiro and Shozo Shimamoto, "free the color from the brush". At that time watering cans, umbrellas, vibrators, abacus, skates were used. And then again the feet or the firearms (I am thinking of the shooting paintings by Niki de Saint Phalle). Today motorcycles are preferred. Aaron Young's performances, for example, are the result of extreme actions that involve motorcyclists, skeaters and tattoo artists in adventures on two wheels: skidding and braking they scrape the tires on aluminum or wooden plates producing concentric circles, automatic drawings of macroscopic dimensions and simple doodles. They are contemptuous and dangerous because they live on a pinch of healthy unconsciousness. They respond to the demand for showmanship and challenge the seductive power of clandestine racing, urban graffiti in a renewed need for a bet. Julian pursues a new model of making art. He knows the alchemical and Zen practices imparted by the masters of the performance of the sixties and applies them with ease in a spectrum of linguistic possibilities more in line with his time. He grew up in the open source civilization that rewards visual competition with the teaser rule, where the highest formal synthesis that knows how to combine curiosity and emotion wins. The undercurrent is a criticism that arises spontaneously. The artist interprets the modus operandi of the consumer society, politics and mass culture, and strikes - in the strict sense - the symbolic images of contemporaneity. After black and white, bright monochromes and polychromes dedicated to the stages of transformation of matter according to the esoteric philosophical system (nigredo, rubeda, citrinitas, albedo, viriditas, which correspond to black, red, yellow, white and green of the chromatic scale in painting) Julian “signs” a series of new works. The famous photograph of President Barack Obama, William and Kate's kiss aired on a planetary scale, the two greatest disasters recorded in the 2000s, a “google view” of Fukushima and the specter of the Twin Towers in flames. The same power exerted by the civilization of the image is that visual impact that Julian T seeks out and exasperates. If we imagined being able to film one of Julian T.'s actions, the sequence shot of the camera would move around his hands to record how the maximum of objectivity (the systematic control of the gesture, unique and unrepeatable) coincides with the most total indetermination of the result (the fragmentation of the color in the impact with the surface). By extracting it in a photographic frame, the prelude that anticipates the creative gesture is the same that could announce the start of a match: it is the calm before the storm, the silence aimed at an unexpected roar. The distillate of color and its orderly preparation are the counterpart of a one-way action, the explosion that is the seal (the initials) of the work. Assuming a sequence shot, I think of the masterful Paint spot created by director Jonathan Glazer for sony : a quiet Glasgow neighborhood, long and deep shots, architectural perspectives, lawns. Everywhere is quiet and calm. The camera that stops on a building: suddenly a bang, then a second and a third, and away, on the notes of Gioacchino Rossini's La gazza ladra. 70 thousand liters of colored paint are unleashed in a ballet of geisers, smearing everything that comes within range. The scene would certainly have pleased the director of Zabriskie Point. We are at the end, with the memorable explosion of the super villa in the Californian desert. The daring combination - establishment vs catastrophe - and the blow up of the camera, so dear to Michelangelo Antonioni, shatter the icons of American society of the seventies. Television sets, books, household appliances sway in slow motion at ever more risky and close angles. But it's not an earthquake. Antonioni penetrates the vision, overcomes the limit and enters a universe “beyond” to the sound of synthesizers. Everything really happens and is accomplished and crystallizes in an icon that breaks through time. Julian T. has in mind to make his colors explode again, impacting on monochrome canvases. The effect is truly stunning and elegant. 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Price: 3857.1 USD

Location: Bologna

End Time: 2024-02-08T15:05:04.000Z

Shipping Cost: 65.36 USD