Mario Giacomelli : ‘My Whole Life’ Series (Photography)

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“No image can be “reality” because reality it happens only once before my eyes.” Mario Giacomelli

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‘My Whole Life’ series
Mario Giacomelli
Photograph
1997-00
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‘My Whole Life’ series
Mario Giacomelli
Photograph
1997-00
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‘My Whole Life’ series
Mario Giacomelli
Photograph
1997-00
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‘My Whole Life’ series
Mario Giacomelli
Photograph
1997-00
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‘My Whole Life’ series
Mario Giacomelli
Photograph
1997-00
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‘My Whole Life’ series
Mario Giacomelli
Photograph
1997-00
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‘My Whole Life’ series
Mario Giacomelli
Photograph
1997-00
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‘My Whole Life’ series
Mario Giacomelli
Photograph
1997-00
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‘My Whole Life’ series
Mario Giacomelli
Photograph
1997-00
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“The photograph helped me discover things, interpret and reveal them. Story knowledge of the world, in a interior architecture where the vibrations are a continuous flow of moments, of liberating adventures as total expression where I feel all the completeness of my existence.” Mario Giacomelli

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Mario Giacomelli : Website

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Roberta Vilić : Paintings

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‘Untitled’
Roberta Vilic
Painting
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‘Untitled’
Roberta Vilic
Painting
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‘Untitled’
Roberta Vilic
Painting
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‘Untitled’
Roberta Vilic
Painting
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‘Untitled’
Roberta Vilic
Painting
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‘Untitled’
Roberta Vilic
Painting
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‘Untitled’
Roberta Vilic
Painting
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Works of Roberta Vilić act as “fields of memory (reminiscence)“- they are places of intimate, symbolical exchange, where private perception transforms into a visual code. “The work itself is a screen of the authors interior“, wrote Janja Feric for the occasion of Roberta Vilic’s exhibition in gallery Galežnica end 2002. Evocational character of the matter transforms the painting surface into a suggestive field. In the tactile game of associations, from structure of the matter itself rise or disperse diagrams and traces. Leaving an imprint of time eroded walls and evocate a metaphorical picture of passing of time.

Moreover, Roberta’s works constitute researches of space and surface/plane, structure, matter, and material. These are abstract compositions of reduced coloring, summarized to approbation of patterns of monochrome surfaces, grey, black or white, they are close to minimalism, and they address void and surface as central figures, activating the relation between positive and negative. On the surface of the painting, layer closest to the observer, one can sense words or letters as the only reference to the world of externality, and which in subsequent elaborations and research loses its narrative character by becoming an unobtrusive symbol, and by adopting abstract character of the sign. During this sublimation process a shift is apparent, deep ponderation, which results with cumulative sense of easement of the structure, its purification and appeasement.

The new works are produced in the continuity of the author’s expression, certain form-content patterns, and visible close communication with the heritage of informell. In time we find revelations and researches of a technical nature. Alongside parts of text and letters, cuts, scratches, ruptures and gaps appear as peer elements. The author addresses them as one does a graphical matrix. These are all messages inserted in the matter and contribute its expressive power and re-evaluation of our comprehension of elementary world of matter. Without evocating objective signs and symbols by principle of tautology. By conceptualization of reduction and recurrence methods, in almost monotone repetitiveness rhythm and change are bought by minimal and discreet shifts which emphasize uniqueness of multi-layered structure of each individual work. – Extract: Branka Benčić – Marisall Gallery

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Roberta Vilić : Marisall Galerija

Roberta Vilić : More Works

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Antoni Tàpies : ‘Color Lithographs’ (Artworks)

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“My wish is that we might progressively lose our confidence in what we think we
believe and the things we consider stable and secure, in order to remind ourselves
of the infinite number of things still waiting to be discovered…” – [Antoni Tapies]

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‘8 sobre llibre’
Color lithograph
Antoni Tàpies
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‘Untitled’
Color lithograph
Antoni Tàpies
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‘Untitled’
Color lithograph
Antoni Tàpies
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‘Envoltorio’
Color lithograph
Antoni Tàpies
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‘Lettre X’
Color lithograph
Antoni Tàpies
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‘Etiquette’
Color lithograph
Antoni Tàpies
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‘Divisé’
Color lithograph
Antoni Tàpies
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Tàpies shared a general sensibility which affected artists on both sides of the Atlantic after the Second World War and the dropping of the atomic bomb, and soon expressed an interest in matter – earth, dust, atoms and particles – which took the shape of the use of materials foreign to academic artistic expression and experiments with new techniques. He believes that the notion of matter must also be understood from the point of view of Medieval mysticism as magic, mimesis and alchemy. That is how we must see his wish for his works to have the power to transform our inner selves.

The works of the last years are, most of all, a reflection on pain – both physical and spiritual – understood as an integral part of life. Influenced by Buddhist thought, Tàpies believes that a better knowledge of pain allows us to soften its effects and therefore improve our quality of life. The passage of time, which has always been a constant in his work, now takes on fresh nuances when lived as a personal experience which brings greater self-knowledge and a clearer understanding of the world.

He’s consolidated an artistic language which visually conveys both his conception of art and certain philosophical concerns which have been renewed over the years. His practice is still open to the brutality of the present while offering a form which, despite its ductility, remains faithful to its origins. So the works of the last few years aren’t only fully contemporary, they’re also a record of his own past.

[Extract : Antoni Tàpies Collection]

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Antoni Tàpies Collection : Selected Works

Antoni Tàpies : Spaightwood Galleries

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Roseanne Lynch : “Document” Series (Photography)

“What is special in the case of conditional experience is, I think, what I sometimes call the
introspective quality of seeing: you see whatever you’re looking at, but you also see the
way you’re seeing… your experience of the thing is integrated as part of the thing itself.”

Olafur Eliasson

‘untitled’
lambda print on diabond
60″ x 40″
2010

‘untitled’
giclee on aluminium
16.4″ x 23.4″
2010

‘untitled’
lambda print on diabond
60″ x 40″
2010

‘untitled’
giclee on aluminium
16.4″ x 23.4″
2010

‘untitled’
giclee on aluminium
16.4″ x 23.4″
2010

‘untitled’
lambda print on diabond
60″ x 40″
2010

I am intrigued by the quality that is photographic, and by how the photographic process affects the looking. I explore the photograph, as object, as image, as representation, as illusion, as statement; its physicality, surface, matter and suggestion. A photograph is something you might imagine you can enter into, but it is a surface and pushes you back. Uncertainty interests me. I like not knowing, and the understanding held within that unknowing. I am interested in the possibility of a quality of silence and internal conversation when you encounter artworks.

This body of work presents a sustained investigation of light; light that has no material substance and is illusory. This investigation focuses on the immaterial; through it I observe how light molds and moves, light defining the planes, how our reading of a subject can be altered by its interaction with light – sometimes dramatically. Inquiry is what I am presenting, an opportunity to bring the viewer into the inquiry. To find an answer was never my intention. [extract : ‘document’ series description]

Roseanne Lynch : Website

Antoni Tàpies : Artist

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“to remind man of what in reality he is, to give him a theme for reflection, to shock him in order to
rescue him from the madness of inauthenticity and to lead him to self-discovery.” Antoni Tàpies

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Repliquer III
Antoni Tàpies
Colour etching
1981
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Untitled
Antoni Tàpies
Colour etching
1986
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Antoni Tàpies
Nobody is a nobody
Colour etching
1979
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Antoni Tàpies
Negre sobre vermell
ink and collage on paper
2008
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Antoni Tàpies
Affiche avant lettre
Color lithograph
1990
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Tàpies shared a general sensibility which affected artists on both sides of the Atlantic after the Second World War and the dropping of the atomic bomb, and soon expressed an interest in matter – earth, dust, atoms and particles – which took the shape of the use of materials foreign to academic artistic expression and experiments with new techniques. He believes that the notion of matter must also be understood from the point of view of Medieval mysticism as magic, mimesis and alchemy. That is how we must see his wish for his works to have the power to transform our inner selves.

The works of the last years are, most of all, a reflection on pain – both physical and spiritual – understood as an integral part of life. Influenced by Buddhist thought, Tàpies believes that a better knowledge of pain allows us to soften its effects and therefore improve our quality of life. The passage of time, which has always been a constant in his work, now takes on fresh nuances when lived as a personal experience which brings greater self-knowledge and a clearer understanding of the world.

In recent years he has consolidated an artistic language which visually conveys both his conception of art and certain philosophical concerns which have been renewed over the years. His artistic practice is still open to the brutality of the present while offering a form which, despite its ductility, remains faithful to its origins. And so the works of the last few years are not only fully contemporary, they are also a record of his own past. [Extract : Antoni Tàpies Collection]

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Antoni Tàpies Collection : Selected Works

Antoni Tàpies : Spaightwood Galleries

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