mercoledì 30 gennaio 2013

INSIDE OPERAPERTA


The first "experiment" of OPERAPERTA, as you know, was a remake of "Lady with an Ermine" by Leonardo Da Vinci. I was given the head.

After three rough quick sketches, performed without thinking (I was curious to see what an instinctive approach could suggest to me ) I put spontaneity aside and I tried to be well-informed about this lady. I am interested in people and their stories, after all, so why not to go to discover precisely that of the Lady?
I read that there are three theories about who the woman painted by the master might be, but the most widly accepted is that she is Cecilia Gallerani. Cecilia, which, even she was sixteen, becomes lover of Ludovico il Moro. Cecilia, who gives him a son. Cecilia, who is moved away from the Sforza court when the wife of him, Beatrice D'Este, decides that she has endured the presence of that "puta" (meaning "little girl", eh, I recommend!) too long.
The thing I found most fascinating, however, was the discovery that I was going to draw a intelligent and highly educated girl. She was able to create around herself a background frequented by the greatest personalities of the time, including Leonardo Da Vinci: Bergamino's residence, Cecilia's last home, in fact, became a meeting point for poets, writers, philosophers, scholars and intellectuals.
At that point I took no time to understand how I would draw her. I mixed her features and the face expression to that of a '20s mocking and independent looking woman and I put the brain out, for the obvious reason linked to her love for the culture and thought.
I put a worm in its folds, however, a metaphor of pain, such as a thought that occasionally moves, causing pain. The jellyfish, like other anthropomorphic figures, is almost a constant of my work. I use it as one of the representations of fears, anxieties and dangers and in this case I used it to express our fragility, because a gelatinous and soft materia is not able to protect something that is precious and delicate as brain.
The only thing created without thinking about it, and it emerged in the paper as a natural consequence, was the "cerebellum chignon", pierced by pins, like a ball of wool.








But how did my adventurers fellow live this experience? How did they approach the subject, especially their own "piece"?
I have asked them.

"Why have you represented your piece in this way?"

Vacon Sartirani, author of '"ermine", replied: "Certain types of amorphous growths have become an inseparable part of my graphic thoughts. In representing the ermine, I wanted to get as far as possible from the image of the animal, with all things that it brings behind, both anatomically and symbolically. I wanted to keep, instead, some of the other elements, such as the deadly and icy aura, that I transferred into the skull. "









It's true, we can find these growths in the beautiful artworks of Vacon. I went on his page to learn more and I read about larvae, corals, ghosts, apparitions, foreign cocoons ... and blue and red colours. Two contrasting elements that are familiar to me, and also essential in my works until 2011. The interesting article by Gaia Locatelli confirms to me that I have more in common with this artist than I thought. I looked at his paintings on the web-site carefully and I strongly suspect that they can be dimensional doorways, but I have to see them to be sure about it ... and I'm sorry to remember to have lost this opportunity at AvantGarden gallery, in Milan.

Alessandro Sicioldr, who drew the body of the lady, is a meticulous drawing artist, interested in unconscious and in the relationship between alchemy and psychology. His influences are clear and important. He says of his work: "I don't usually represent something in a cerebrally way...I transcribe the visions that I have on paper, as a result of specific suggestions. In this case I saw the body of the lady- an artwork widely inflated and statically imprinted in the collective imagination- as part of a cycle of decomposition-putrefaction-creation, a break that brings a new birth; pieces of meat comes off and meanwhile create the breeding ground for germination halfway between the plants and the animals. "








I love the word "vision." And also "germination". But most of all, I love Sicioldr' drawings, and I'm very curious about its future developments. He's also very young. Lucky him.

Dario Molinaro brings me fun. There is something about him that reminds me Fethry Duck. Fethry Duck on a hammock, smoking a "joint" and drawing clouds with his finger.
Dario is a storyteller, like me, and I recognize some of the common influences. That of Andrea Pazienza is even more present in him, but it is only in th expressive power, because his individuality is strong, it doesn't carry annoying traces.
To my question, he answers: "Hello, we could say that a real "because" doesn't exist. The original work has not a background, there is a black-black-dark, so I just tried to get something from the black, perhaps the undergrowth that I represented was the obvious choice. Before we get to this end, however, I did various tests that did not convince me at all. Probably the ermine, that lives in the woods expecially, gave me the okay. "








I'm sure, Dario. It was the ermine, I know it.
The forest created by Dario is one in which I would adventure inside. I've missed myself, watching it, more than once, entering voluntarily in the most dense and maybe I will do it again, though, I have to admit, I have had a bit of fear.

And now the time has come to meet the art director, Francesco D'Isa, the creator of Operaperta. Francesco is a digital artist, able to mix delicacy and hardness in a manner and style that I find very appealing. I like his alien-women, of which he lets you to see, in trasparency,impossible anatomy, full of meanings and symbols. But I think his masterpiece is "Europe", the realization of which took months and for which he had another idea: Sliced Art...
But that's another story and you have to look for it on your own , because if I start to open parenthesis on Francesco, it will be almost certain that this article will never end!
I asked him what was the most exciting part of this first adventure of the project.

Francesco D'Isa: "To see your parts get to me, I was waiting for them as for a Christmas gifts," he says, "But even assemble the result was beautiful, this is a stage where I increase interventions as art director, because I had a great desire to draw something on the work, and I guess also others could have, as well as me!"

I think so too. The temptation to intervene on the work must be strong, for someone who is also an visual artist, like him.
But who can do the art director?

Francesco D'Isa: "Anyone. But to do the art director, as well as to be an artist, you must be good. With a bad art director or bad artists, you generate ugly "opereaperte". For this reason, as far as I can, I try to put together good artists in a project, and when someone wants to be an art director, I wish he was good.
But anyone can use the method operaperta. There is no copyright. The only rule is that in the "original team" we want those we like in.
And if one wants to do it on his own, do so. About definition of "good", I give up "

Right. This is operaperta. Anyone can have an idea and involve who wants to be involved.
I know that the creation of a website is boiling in the pot, this will provide further details. Meanwhile there is another project that is starting and perhaps others are emerging silently in the other minds, maybe on the other side of the world.









What do you think of the final result of this first operaperta?”

Francesco D'Isa: "I think what makes a project a satisfaction: that is better than I thought it would be. It seems to me a good work, beyond that method, and this is important. It is more homogeneous than I expected, and in my opinion the styles don't clash at all with each other."

Vacon Sartirani: "We have started a project that has very big potential, waiting for being explored. The collective work is one of the cornerstones of contemporary art - I also think to street art, a field that is growing up and has always been strongly characterized by a collectivization of the creative process, even for purely technical necessities - but in my opinion, this potential has not been sufficiently analyzed by visual arts yet. "

Alessandro Sicioldr: "I'm thrilled. The collective work is different from my personal research style , but I think it always opens new doors. The collision of different ideas and visions can change perspective in a interesting way, and this work is its obvious example. Even the different graphic techniques, blended together, created a "Lady-Frankenstein" with its own vitality, its style and its coherence. "

Dario Molinaro: "You know, I had not in mind (in my imagination) the final result of this work ... we all are very different, it was difficult to find a balance in the composition, but I must say that the result is there and you can see. there should be more collective works like this (although I am a solitaire). Why not? Draw together, make dirty papers, have fun and love each other. "


You already know my opinion. I can only add that we are a bit all solitaire creators in this group, as far as I could see, and that probably we enjoy too much the pleasure of being with ourselves while creating. It's also true that Operaperta does not take away this pleasure, but in some way,it is able to "unite souls" or something, to bring them together, giving them a sort of child to be loved.
It's an experience to be done. And to be done again and we evetually will see what it becomes.

"Love each other" says Dario. Mmh... That's great! At least let's try.




















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