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OUR ARTISTS
Carla Pistol
I am a contemporary artist and I celebrate color and emotion through my works. Born in a small
Italian town, from a young age I developed a deep passion for art, inspired by the lively landscapes and scents of nature around me. My abstract art was born from the encounter with the artistic currents that characterized the early 1900s, where the artist existed in the act of making the work, in
his gestures and where a form of pure ecstasy was sought in the application of color, in contrast to the historical period that the world was experiencing involved in a world war. I like to think of combining the two
things, in any case in my abstraction, I seek that
form of ecstasy and pleasure that color can give. My artistic approach is distinguished by the bold and innovative use of color, which therefore becomes a language
capable of evoking sensations, memories, scents and moods. My works are characterized by their chromatic intensity, where each shade seems to emanate a unique scent or melody, transporting the observer on a deep and personal sensory journey. With a combination of acrylics, colored pencils, chalk, Swarovski and natural elements, I create textures and stratifications that invite you to explore every detail.
Each painting is a labyrinth in which the colors dance and
intertwine, telling stories that go beyond the surface. In my canvases I like to hide phrases and
symbols to search for, each painting must be investigated and discovered. It is an invitation to the observer to decipher and connect with deeper meanings. In this way, each painting
becomes an interactive experience, an invitation to discover not only the visual beauty, but also the narrative richness it contains. Abstraction is my language, a way to distill reality and return it in the form of pure emotion, of vibration. I am not interested in reproducing the world as it is, but rather in capturing the
sensations, the interior movements, the tensions and harmonies that live within us. Each painting is a piece of me, a map of emotions and thoughts. My work is a continuous act of research and discovery. I create to understand, explore and give shape to what cannot be seen, but felt. Among my thousand shades, a safe haven for my thoughts, I invent infinite and desired worlds that allow me to go beyond the boundaries and see new realities invisible to the eyes... mine are portals to cross.
I often combine texts with paintings, but this happens
only when, after the work is completed, something
inspires me... and so the sentences flow spontaneously
outlining even more the intrinsic message of the painting.
Other times these writings
arise from reflections
on a scene seen or an emotion felt.
I also really like to stop and reflect on
human thought, on time and everything that surrounds me... even a simple sense has its own story. I observe, imagine, elaborate and create...
Italian town, from a young age I developed a deep passion for art, inspired by the lively landscapes and scents of nature around me. My abstract art was born from the encounter with the artistic currents that characterized the early 1900s, where the artist existed in the act of making the work, in
his gestures and where a form of pure ecstasy was sought in the application of color, in contrast to the historical period that the world was experiencing involved in a world war. I like to think of combining the two
things, in any case in my abstraction, I seek that
form of ecstasy and pleasure that color can give. My artistic approach is distinguished by the bold and innovative use of color, which therefore becomes a language
capable of evoking sensations, memories, scents and moods. My works are characterized by their chromatic intensity, where each shade seems to emanate a unique scent or melody, transporting the observer on a deep and personal sensory journey. With a combination of acrylics, colored pencils, chalk, Swarovski and natural elements, I create textures and stratifications that invite you to explore every detail.
Each painting is a labyrinth in which the colors dance and
intertwine, telling stories that go beyond the surface. In my canvases I like to hide phrases and
symbols to search for, each painting must be investigated and discovered. It is an invitation to the observer to decipher and connect with deeper meanings. In this way, each painting
becomes an interactive experience, an invitation to discover not only the visual beauty, but also the narrative richness it contains. Abstraction is my language, a way to distill reality and return it in the form of pure emotion, of vibration. I am not interested in reproducing the world as it is, but rather in capturing the
sensations, the interior movements, the tensions and harmonies that live within us. Each painting is a piece of me, a map of emotions and thoughts. My work is a continuous act of research and discovery. I create to understand, explore and give shape to what cannot be seen, but felt. Among my thousand shades, a safe haven for my thoughts, I invent infinite and desired worlds that allow me to go beyond the boundaries and see new realities invisible to the eyes... mine are portals to cross.
I often combine texts with paintings, but this happens
only when, after the work is completed, something
inspires me... and so the sentences flow spontaneously
outlining even more the intrinsic message of the painting.
Other times these writings
arise from reflections
on a scene seen or an emotion felt.
I also really like to stop and reflect on
human thought, on time and everything that surrounds me... even a simple sense has its own story. I observe, imagine, elaborate and create...
Michael Berlot
I am an architect, born in 1963. I developed a passion for technical drawing and from there my “expressive” path was born and developed: first abstract drawings made with ink, the mixed techniques of the early nineties, then using CAD, in computer graphics.
At the same time, I also dedicated myself to “hand” drawing, made with traditional techniques.
Then I discovered the material and I started painting. My painting can be defined as informal, but it is definitely not an informal gestural. It needs a basic preparation on which to then work, spreading the color so that the brush stroke is not perceptible.
Currently I use paper and glue mixed with color: through numerous steps and overlaps, I arrive at that balance from which my paintings are born. And precisely because of their materiality, they have many references to “natural” forms and it is very easy to find faces or figures that seem to inhabit the canvas, a microcosm in which everyone can imagine and build their own story.
At the same time, I also dedicated myself to “hand” drawing, made with traditional techniques.
Then I discovered the material and I started painting. My painting can be defined as informal, but it is definitely not an informal gestural. It needs a basic preparation on which to then work, spreading the color so that the brush stroke is not perceptible.
Currently I use paper and glue mixed with color: through numerous steps and overlaps, I arrive at that balance from which my paintings are born. And precisely because of their materiality, they have many references to “natural” forms and it is very easy to find faces or figures that seem to inhabit the canvas, a microcosm in which everyone can imagine and build their own story.
Francesco Capello
Francesco Capello è un artista affermato e riconosciuto a livello internazionale dall'Italia. Pittore iperrealista, la lunga carriera di Capello ha attraversato diverse mostre personali e collettive, premi, commissioni pubbliche e, più recentemente, un'installazione di una delle sue opere nella collezione permanente del Museu Europeu d'art Modern (MEAM) di Barcellona , Spagna. I suoi dipinti classici spaziano dai ritratti alle nature morte e si sforzano sempre di rappresentare persone, luoghi e cose, in una luce naturale e sbalorditiva.
Taraski
Neapolitan creativity and Savoy balance, in short, Taraski, the stage name chosen by Giancarlo Taraschi, born in 1962 in Turin where he lives and works, but who loves to emphasize that he was conceived under Vesuvius,... by authentic Neapolitan parents.
Taraski discovered his passion for painting in 1988; it is in this period, alternating long periods of meditation and maniacally focusing on the use of pigments and the search for gestural expressiveness - also through the practice of shodō - that his uniqueness, always outside the box, emerges!
We begin to glimpse what will be the characteristic thematic core of his activity in the future: the reflection on the role of the image in the mass media society, the influences of American "pop" culture, the use of bold colors and the strong experimental character.
He has never conformed to any artistic current or vision. In the end, the ultimate figure is always his, even in uncertainty, even when he fails.
His working method is closely linked to the gestures derived from the practice of Aikido (which he teaches to the boys at his academy).
He has three children, two of whom are still young. His inner child is vital; when he creates he does so freely, without worrying too much about the result.
His love for nature has recently led him, uncritically and intentionally, to talk about alternative energies in his works.
Taraski discovered his passion for painting in 1988; it is in this period, alternating long periods of meditation and maniacally focusing on the use of pigments and the search for gestural expressiveness - also through the practice of shodō - that his uniqueness, always outside the box, emerges!
We begin to glimpse what will be the characteristic thematic core of his activity in the future: the reflection on the role of the image in the mass media society, the influences of American "pop" culture, the use of bold colors and the strong experimental character.
He has never conformed to any artistic current or vision. In the end, the ultimate figure is always his, even in uncertainty, even when he fails.
His working method is closely linked to the gestures derived from the practice of Aikido (which he teaches to the boys at his academy).
He has three children, two of whom are still young. His inner child is vital; when he creates he does so freely, without worrying too much about the result.
His love for nature has recently led him, uncritically and intentionally, to talk about alternative energies in his works.
Leo Giampaolo
Leo Giampaolo (Leonardo Mario Gilberto Giampaolo)
was born in Turin in 1937 where he lives and works.
He made his artistic debut in 1963 at the Mostra d'Autunno del
Piemonte Artistico. In 1964 he was mentioned at the Premio Marche.
In 1965 he was awarded at the Promotrice di Torino and was invited to the "Salon de Mai" in Paris
He abandoned painting in 1973 then returned to painting at the end of the nineties.
He has many solo and group exhibitions in Italy and abroad.
Well-known critics have written about his work. In 2016 the MIlT Museum in Turin dedicated a solo exhibition to him with his most recent works.
was born in Turin in 1937 where he lives and works.
He made his artistic debut in 1963 at the Mostra d'Autunno del
Piemonte Artistico. In 1964 he was mentioned at the Premio Marche.
In 1965 he was awarded at the Promotrice di Torino and was invited to the "Salon de Mai" in Paris
He abandoned painting in 1973 then returned to painting at the end of the nineties.
He has many solo and group exhibitions in Italy and abroad.
Well-known critics have written about his work. In 2016 the MIlT Museum in Turin dedicated a solo exhibition to him with his most recent works.
Santo Alligo
Santo Alligo was born in 1948 in Roccalumera (ME). At the age of 5 his family moved to Turin. After graduating from the Civic School of Ceramic Art he became assistant to the ceramist Anna Maria Carusi, where he helped her create large bas-reliefs in patinated terracotta. At sixteen he worked as a graphic designer/illustrator at the Armando Testa advertising studio, where in 1967 he created the hippopotamus Pippo for the Lines diaper carousels. In his short essay, Manuel Carrera, art historian and critic, writes: “Among the absolute protagonists of the Carosello born within the Studio Testa, Pippo, the Lines hippopotamus, still remains one of the most memorable today, to the point to border on myth. It was created by a very young and talented Santo Alligo, then fresh from training at the Civica Scuola d'Arte Ceramica and the studio of Anna Maria Carusi. The creation of Pippo fits fully into his artistic career and can be defined as his first important experience as a contemporary sculptor [...] However, in addition to the image of Pippo, there remains an unparalleled liveliness, a freshness of content which is the happy and everlasting fruit of Santo Alligo's creativity". Graphic designer and advertising illustrator, he works for important Italian agencies and industries, from Ferrero to Esselunga, from San Pellegrino to Levi's. He creates images in which he combines idea and technical expertise, such as Facciasciutta and Trisapore, judged by Federico Zeri to be "beautiful, indeed, sometimes splendid, inventions", as in some posters: Turin Fencing World Championships, Italian Antique Dealers Association, Turin Calcio.
From 1966 he began modeling terracotta portraits characterized by an introspective adherence to the model, which represent, as Adriano Olivieri wrote, the production most intimately linked to Alligo's sensitivity. This small corpus of works created in the 1960s and 1970s - with eyes bathed in the sources of Arturo Martini and Gemito, observed for a long time at the Museo d'Arte Civica in Turin - has something surprising in the way of intuiting the pneuma that erupts on the surface skin in subjects who we imagine have not had time to realize that they have already been translated into clay. In an instant Alligo captures the life of the person and returns it to a rough material, modeled in a rustic way and which reaches a penetrating truth close to the veristic language of the Etruscans and Romans; not to art born from an aesthetic ideal as in the Greeks but from reality as in the Latins. Exemplary in this sense are: the portrait of Pietro from 1975, with the gaze that pierces us and the languid eyelids that we find in certain faces of the Antonine lineage, that of Nino, as true as some faces of emperors who look like peasants from the Lazio Maremma are true. , that of his mother Paola, an authentic mater materia, or even that of his wife Mariolina, blocked in a seal of symmetrical beauty. Some sculptures depicting everyday objects date from the late 1980s: from the Lacoste to the wool sweater, which Vittorio Sgarbi considers "sculptures that speak... eternal objects with a soul".
Alligo's sculptures (strictly one-off pieces) have been exhibited in numerous group and solo exhibitions: Terrecotte, Turin 2014; Anthological 1960/2014, Rome; Plastic emergencies, 2014/15, Milan; The Fringe of the Art World, 2017, Turin. The opera “Domenica”. Finally! It was exhibited at the Milan Expo in 2015. In 2010 he received the "Piero's dream" award from the Academy of Fine Arts of Urbino for his artistic activity in the field of graphics, sculpture and for his passionate research and dissemination on the masters of illustration.
“Santo Alligo, although largely drawing on the language of traditional figurative plasticity, is a perfectly contemporary artist. And it is contemporary precisely as a "personality", as a character, or as a person, meaning the term in the Latin sense, in the scenic sense. Alligo – it must be underlined – is a natural character, animated by a special naïveté: at times childish, at times sulphurous. His natural talent is also natural, devoid of constructions and artifices; devoid of sophistication and sophistication. You cannot fully understand Santo's work if you do not know his person, characterized by an impulsive, frank, frenetic theatricality. Even Alligo's heterogeneous intellectual dimension, which betrays an irrepressible eclectic nature, is fundamental to understanding the different articulations of his sculpture, in which Sicilian archaisms, a passionate love for illustration, cartoonish and advertising suggestions flow with candid ease. , cinephile and bibliophile quotes, an amused taste for surprising or provocative ideas. His latest exhibition presents a generous anthology of works in terracotta, bronze, aluminum and wood (sometimes with interventions in resins and plexiglass), created by the artist starting from the end of the seventies, with a specific focus on the unpublished production of the last three years. In his latest works Alligo has touched all the expressive chords that have always distinguished his agitated poetic universe, arriving at an ideal synthesis of his conceptual and visual codes: from the laconic Death of a Chick to the surreal Digital Portrait, from the alienating Reflection to the " Sunday". Finally!, from the diptych Staying a Child to the spectacular Invisible Man, from the superb bust in humped terracotta and wire Barbed Frontiers (full of political-social implications) to the more enigmatic Dialogue, a very complex bronze, suspended between ironic detachment and mystery existential... From Santo's extraordinarily capable hands every material comes to life, in a continuous and compulsive dialectic that knows no rest. We have already observed elsewhere how relevant the multi-material inclination of Alligo's latest creations is, framing it in a discourse of imitation of reality already underway at the beginning of the nineties, without however neglecting the projective scope of the aforementioned inclination, a capricious reflection of a distant infantile desire for wonder and polymorphic enjoyment. (Armando Audoli).
Recently he was called to create a work to decorate a building in Turin; named after the building “Link”, he created large waterjet-cut aluminum panels.
From 1966 he began modeling terracotta portraits characterized by an introspective adherence to the model, which represent, as Adriano Olivieri wrote, the production most intimately linked to Alligo's sensitivity. This small corpus of works created in the 1960s and 1970s - with eyes bathed in the sources of Arturo Martini and Gemito, observed for a long time at the Museo d'Arte Civica in Turin - has something surprising in the way of intuiting the pneuma that erupts on the surface skin in subjects who we imagine have not had time to realize that they have already been translated into clay. In an instant Alligo captures the life of the person and returns it to a rough material, modeled in a rustic way and which reaches a penetrating truth close to the veristic language of the Etruscans and Romans; not to art born from an aesthetic ideal as in the Greeks but from reality as in the Latins. Exemplary in this sense are: the portrait of Pietro from 1975, with the gaze that pierces us and the languid eyelids that we find in certain faces of the Antonine lineage, that of Nino, as true as some faces of emperors who look like peasants from the Lazio Maremma are true. , that of his mother Paola, an authentic mater materia, or even that of his wife Mariolina, blocked in a seal of symmetrical beauty. Some sculptures depicting everyday objects date from the late 1980s: from the Lacoste to the wool sweater, which Vittorio Sgarbi considers "sculptures that speak... eternal objects with a soul".
Alligo's sculptures (strictly one-off pieces) have been exhibited in numerous group and solo exhibitions: Terrecotte, Turin 2014; Anthological 1960/2014, Rome; Plastic emergencies, 2014/15, Milan; The Fringe of the Art World, 2017, Turin. The opera “Domenica”. Finally! It was exhibited at the Milan Expo in 2015. In 2010 he received the "Piero's dream" award from the Academy of Fine Arts of Urbino for his artistic activity in the field of graphics, sculpture and for his passionate research and dissemination on the masters of illustration.
“Santo Alligo, although largely drawing on the language of traditional figurative plasticity, is a perfectly contemporary artist. And it is contemporary precisely as a "personality", as a character, or as a person, meaning the term in the Latin sense, in the scenic sense. Alligo – it must be underlined – is a natural character, animated by a special naïveté: at times childish, at times sulphurous. His natural talent is also natural, devoid of constructions and artifices; devoid of sophistication and sophistication. You cannot fully understand Santo's work if you do not know his person, characterized by an impulsive, frank, frenetic theatricality. Even Alligo's heterogeneous intellectual dimension, which betrays an irrepressible eclectic nature, is fundamental to understanding the different articulations of his sculpture, in which Sicilian archaisms, a passionate love for illustration, cartoonish and advertising suggestions flow with candid ease. , cinephile and bibliophile quotes, an amused taste for surprising or provocative ideas. His latest exhibition presents a generous anthology of works in terracotta, bronze, aluminum and wood (sometimes with interventions in resins and plexiglass), created by the artist starting from the end of the seventies, with a specific focus on the unpublished production of the last three years. In his latest works Alligo has touched all the expressive chords that have always distinguished his agitated poetic universe, arriving at an ideal synthesis of his conceptual and visual codes: from the laconic Death of a Chick to the surreal Digital Portrait, from the alienating Reflection to the " Sunday". Finally!, from the diptych Staying a Child to the spectacular Invisible Man, from the superb bust in humped terracotta and wire Barbed Frontiers (full of political-social implications) to the more enigmatic Dialogue, a very complex bronze, suspended between ironic detachment and mystery existential... From Santo's extraordinarily capable hands every material comes to life, in a continuous and compulsive dialectic that knows no rest. We have already observed elsewhere how relevant the multi-material inclination of Alligo's latest creations is, framing it in a discourse of imitation of reality already underway at the beginning of the nineties, without however neglecting the projective scope of the aforementioned inclination, a capricious reflection of a distant infantile desire for wonder and polymorphic enjoyment. (Armando Audoli).
Recently he was called to create a work to decorate a building in Turin; named after the building “Link”, he created large waterjet-cut aluminum panels.
Alex Corno
Alex Corno was born in Monza in 1960 and lives in Milan. He graduated from the Liceo Artistico Statale I° in Milan in 1978 and in 1982 in Sculpture with Alik Cavaliere at the Brera Academy of Fine Arts in Milan. After completing his studies, he taught in state schools for a decade, before dedicating himself entirely to his own artistic research.
In the eighties, starting from a sculpture composed of assemblies of repainted recycled objects, he arrived at a work attentive to the structure and the space determined by it, with an ever greater preference for welded iron.
Corno does not live in the continuity of the sculptural tradition but in the awareness of the impossibility of an immobile past and in the related aspiration to adhere to one's own time, against a dead language sculpture, for a living language sculpture. With an increasingly essential search for synthesis and lightness in which the internal experience is objectified, also lived in a spiritualistic dimension.
He has exhibited in numerous exhibitions both in Italy and abroad. His works can be found in private and public collections in Italy, Switzerland, France, England and the United States.
In the eighties, starting from a sculpture composed of assemblies of repainted recycled objects, he arrived at a work attentive to the structure and the space determined by it, with an ever greater preference for welded iron.
Corno does not live in the continuity of the sculptural tradition but in the awareness of the impossibility of an immobile past and in the related aspiration to adhere to one's own time, against a dead language sculpture, for a living language sculpture. With an increasingly essential search for synthesis and lightness in which the internal experience is objectified, also lived in a spiritualistic dimension.
He has exhibited in numerous exhibitions both in Italy and abroad. His works can be found in private and public collections in Italy, Switzerland, France, England and the United States.
CONTEMPORARY ART
We are pleased to offer a space for emerging artists to exhibit in our gallery alongside already established artists, if you are looking for an opportunity and are interested in exhibiting your works contact us for more information.
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