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Jahan
Inanloo
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Achille
Perilli
Achille looks to the tradition of abstract modern art, ending
up questioning or even rejecting it with his "geometric
non-shapes" and his theory of the "geometrically
incongruous". Color parts of his paintings refer to the
fundamental idea of the removal of the represented. |
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Armando
De Stefano
Through neo-realist renegotiation of his subjects, Armando
presents the familiar as the unfamiliar. The painting of
Naples tradition runs through his works, in which one can
distinguish themes, colors and motifs imbued with heroic
humanism that is inspired by baroque iconography. |
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Eduaro
Palumbo
With brisk strokes of brush, abstract drawing and
multi-dimensional geometric shapes with many levels, as though
they are producing and defining each other at the same time,
Eduardo weaves meshes of balances and rhythms, creating
powerful and fluctuating intensities that intimate at value
systems and allegories. |
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Ernesto
Tatafiore
Most of Ernesto's works are inspired by Vesuvius, which he
transforms into a symbol for various events. For this artist,
the art of representation is poetry. Rhythms, shapes and
colors are organically blended within metaphysical parameters. |
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Gianni
Pisani
Gianni uses advertising in a subjective and autobiographical
way. He engages in a dialogue with old myths and rituals,
creating new forms of experimentation whilst at the same time
ridiculing the insignias of the modern era. |
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Giorgio
Oikonomy
Giorgio was born and raised in Greece, until he left for
studies in Italy, where he finally settled. His
representational painting is filled with diverse symbolism
that creates bridges between past and present. While painting,
he is inspired by nature and, above all, antiquity. |
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Lello
Esposito
Lello's sculptures and paintings are inspired by poetry and
the movies, but above all by the atmosphere of Naples. His
figures bear the echoes of urban malaise and social oppression
imprinted on them, yet they also feature the dimension of
redemption through transformation. |
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Maurizio
Valenzi
Maurizio has played an important role in the development of
Italian and international art in 2oth century, Designer and
Painter, he was one of the politicized artists, in the
broadest meaning of the term. Narrative description and
symbolism, in a humanist version, play definitive role in his
works. |
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Mimmo
Paladino
Mimmo creates sculptures as well as "environmental
installations", using symbols and allegories that
intimate at archetypal situations and the processed memories
of the collective subconscious. His abstract works, full of
imposing strength, are characterized by a quality connected to
life and the transcendental. |
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Mimmo
Rotella
Mimmo processes iconic symbols with his own personal, yet now
international, language. A follower of the
"non-representational", he pursues the art of poster
decollate, complementing it with an existentialist dimension. |
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Nino
Longobardi
Nino uses mixed materials, both in his painting and in his
sculpture. His producing surfaces break up the classical
balances, projecting the strength and inner intensity of
materialism. His works are austere and unadorned, producing
dramatic atmosphere, without wanton internalization. |
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Piero
Dorazio
Previously a member of "Ariele" art circle, Piero
took part along with many other artists in "Social
Arts" exhibition, later singing the Formalism Manifesto,
against Italian provincialism of the period. In addition to
painting, he is a set designer and art critic. The primary
features of his abstract works are the rhythm and color
juxtaposition. |
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Renato Barisani
(Sculptor & Painter)
Renato uses mix materials, being interested in the limits of
fields of color. Through neo-Dadaist idiom and geometric
abstraction, he creates multi-layered surfaces, opening a
dialogue between natural and artificial world. |
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Riccardo Dalisi
His works are filled with creative imagination and poetic
spirit. A memory of the poetics of Miro is apparent, as is the
fairytale-like atmosphere that emerges through childlike
"Naivety". The changes from the smaller to the
larger scale transform the familiar into the incomprehensible. |
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Ugo Attardi
Ugo draws using classical analogies and light undertones,
giving volume to the human body, which he places at the center
of his field of vision, as well as at the borderline between
the past and the present. The body appears as the legacy of a
classicism that never died out, remaining alive. Ugo works
with painting, sculpture and ceramic. |
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