235 Lincoln Road, Suite 201
Miami Beach, FL 33139 – USA
Via Carlo Crivelli 10
20122 Milano – Italy
tel. +39 3471625144
His works are powerfully expressive and go right to the heart of the matter, depicting problems of communication in relationships, people trying to communicate but in actual fact just creating clouds of meaningless words because no one listens, is disinterested or inpatient (Parole al vento – words in the wind).
These themes are acutely topical, created with the irony that facilitates their provocative bite and makes their message more direct. Fabrizio Dusi has worked with many themes, but this is the one that most identifies him.
The wall-mounted ceramic installation Listen To Me could be considered the artist's manifesto. The face depicted in outline, mouth wide open, emitting a vapor of elements represents words spoken uselessly. It is a ferocious criticism to the excess of words hallmark of the present time, but it is made with a light hand in bright colors.
The artist is already present in some important international collections including the Pérez Collection of Miami. Two of his works are exhibited in the lobby of the Icon Bay Residence in Midtown Miami and of the Beachwalk Resort by Pininfarina in Hallandale Beach.
From May 31st he will exhibit at the “House of the Memory” in Milan the artwork “Don't Kill”, a project with a series of red neon sentences inspired to the thoughts expressed by the Italians deported during the Second World War.
Her research is based on observation, on registration, on classification and cataloging of all she see. Given a set she finds similarities and differences reducing everything to the minimum terms.
The subjects on which she was inspired initially were vegetable, such as fruits and flowers, or at least elements of the nature, then go into situations that hold this individual / groups of people or topics that represent them.
The analysis Of Elisa takes time and is always expressed in a different way, as it is the same research that suggests her whether to use a material rather than another.
Paolo Manazza is part of the generation of those artists that still nowadays, in the mare magnum of the new contemporary art codes, is trying to explore the unlimited possibilities of the painting. He is dealing not with figuration, about which not just in Italy there is a (not so edifying) dispute; he is wondering if it is desirable or not to go back to the technique supremacy on the footsteps of the tradition in contrast with the new bi-dimensional trends. Manazza pushes as far as the painting viscera wondering about the meaning and the strength of the colour on the shape, which is in an osmotic but also servile relation with the colour itself. The colour research, just apparently on the footsteps of the great fathers of the Abstract Expressionism, is more about an existential and a spiritual dimension that is part of the needs of our historical period. More pregnant, observing the chromatisms and the vibrations produced by the matching of the backgrounds and their transparencies, appears in his case the study of Wassily Kandinskij; according to him art have to move, to create a deep direct new contact able to penetrate into the “ego” of who is observing, while the shapes have to create a harmony to obtain an...
In other works, Pietro Finelli withholds something from his viewers by depicting figures from behind or in shadow. What the depicted figures really look like thus remains undetermined. Whether they smile or have a serious look, seem sullen or very likeable, appear healthy or tired – all of this is first determined by the viewers, who can thus paint in the picture of the partner of their dreams or the likeness of a person who is presently occupying their thoughts or who was important to them in the past. The dominance of darker tones – only a few of Finelli’s works are done in lighter colours – additionally provides a mysterious and even somewhat uncanny atmosphere, which in turn has a stimulating effect on our fantasy. Finelli even makes explicit reference to the world of film noir, which has turned its back on daylight and the everyday. In this way, we are again very near to the closed eye – and once viewers’ power of imagination has been stirred, they will also take more time in front of an image....