Giuliano Bartolozzi
Space Zero
Caracas
Since the beginning of his career, Giuliano Bartolozzi (Italy, 1947) and is' interested in photography to devise ways of representing this allowed him to express the real el'immagnario. His research led him to question the use sull'Arte of this technique, to transform its application so wide that allows the use of various means and media. his creative process begins with a selection of images - photographs, drawings, printed or stamped - then mix to create amazing hybrids that greatly enrich the discourse of painting. Its theme is inspired by the plant world, so ', describes the tropical flora through its basic components: flowers, fruit, stalks, branches, trees and shrubs, which comply with the reasons for his artistic investigations. Shapes emerge from the floor to convert into a high and low relief, in turn, enters the space the size, fracture, it expands, releasing the composition from its limits conventional. In this way, crop, organize, structure, fragments y superimposed images that are reflected in his poetic vision of the natural world. "In a nutshell - says the artist - I let reality 'suggests to me an abstract form in which to develop my theme of all time: the material and its possibilities'. So, this reality 'stimulates me emotionally, rationally y to meet a lion (as in this case, the flower) and use it as a symbolic element ...". That 's the basic orientation of his research, virtually molded his recent exposition of the Gallery Space Zero, from 17 May to 17 June 2007. The exhibition brought together a collection of works ranging from drawing to painting and installation, technical running through the combination of industrial products that accentuate both the physical aspect as immaterial. Bartolozzi accentuates its pure and primary products, which produce a visual synthesis that avoids the conceptual and intellectual sophistication. With meticulous, this creator manipulates the visible and invisible until you get a result thin and delicate, but 'radical and blunt in its purposes. From this point of view, his intentions are to highlight the curvature of the forms, the organic unity 'of the figures, the rate which causes the repetition of an image, the conflicts that arise from comparison empty and full, clear and dark. In the work entitled Valencia, an installation composed of a single element that is constantly repeated, the artist alludes to the shape of a leaf of a tree made of transparent acrylic, which is located in an orderly and symmetrical on the surface of the wall. By the same token created by combining cardboard, paper and acrylic, in a succession of curtains hung with which gets visual alternatives that pass from positive to negative, from raw material to end. This same principle applies to three-dimensional plane, materializing on the canvas monochrome forms that fill the format, how can we appreciate and Shroud Cast A and B. Calco
The foundations of this exposure should be addressed to movements, genres and trends from the Western painting tradition, and for the use of poor materials used in the art for the recreation of famous themes, such as in the case of Manet's Olympia, from which originated the title of this exhibition and the name of the work that protagonizza the exhibition. It is a sculptural installation made with pieces of wire, paper, plastic and fabric, among others, arranged to form a giant pink. The staging a theatrical reading propitious, as the work he performs alone in a separate room illuminated with light that show the texture and focal particularity 'of its structure. The work rests on two big white cushions, whose arrangement reminds us that the nude stretched Manet painted in 1863 for the Paris Exhibition of Rejected. The Olimpia is evident Bartolozzi sober and majestic in the middle of the fence that the architectural limits, and causes us to associations that refer to archetypal meanings bound to love and feminine beauty. With the implementation of this arrangement the artist was able to sublimate the emotions that cause 'contemplation of the controversial nude by Manet, that sign', for a long time, its sensitivity 'as an artist. "L'Olympia - the author confesses - I summon 'piulsioni sensual before I had experienced in my work and that is part of my life. I saw this woman as a flower and changed to be its reality'...".
Gladis Yunes Yunes
free trad. English by G. Bartolozzi
Magazine "Art Nexus # 67 from December to February 2008.
Reports page. 159-160.
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