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OUR ARTISTS
Laura Marello
The contemporary cultural world has drastically changed since, in the last decades of the 20th century, it saw the presence of courageous protagonists burst onto the international art scene who were able to give shape to new languages that were engaging, strong, powerful and full of rhythm. Bold themes were proposed, daring concepts with original contents that suggested harmonies never perceived before, new challenges and provocative tensions that forced us to new ideas and new visions of the world and to question our certainties linked to tradition. All this has forced us to develop more current and modern thoughts, to re-discuss, to expand
and redefine, with courage and determination, our concept of art. It was the beginning of an intellectual evolution that gave rise to a fervent season of research
which in France took the name of Informal Painting while in the United States of Action Painting or Abstract Expressionism, and in Italy it is characterized as Material and Gestural painting.
It is in an artistic panorama of this kind that Laura Marello's research takes place: on the canvas the color and the sign record a pure emotion. The composition is created without the mediation of the figure, without the representation of objects, without the depiction of naturalistic panoramas, so much so that the exercise of painting becomes an experience that is not only visual but also sensorial and tactile.
Remarkable is the complexity that he manages to obtain with simple pictorial structures, mostly monochrome, elementary in the constructive module with the sole intention of giving "form to the formless".
The dialectical presence of two opposing values: light and non-light which the artist manages with a chromatic reduction and a geometric compositional system, not devoid of suggestiveness, is veered towards thickenings and rarefactions which compose a random arabesque of lines , in a reverberant play of figure and background. Perhaps we are faced with a sort of autograph writing that originates in the depths of the unconscious. With their dynamic tension we hypothesize that those signs are the recording of his creative gesture, the cipher of a vital impulse that wants to dominate emotion, with the aim of transforming indistinct personal memory into an instrument of analysis and self
knowledge. With this exhibition Laura Marello makes us foresee a future season full of meditation and concentration, of existential expressiveness and narrative vigor.
narrative force.
and redefine, with courage and determination, our concept of art. It was the beginning of an intellectual evolution that gave rise to a fervent season of research
which in France took the name of Informal Painting while in the United States of Action Painting or Abstract Expressionism, and in Italy it is characterized as Material and Gestural painting.
It is in an artistic panorama of this kind that Laura Marello's research takes place: on the canvas the color and the sign record a pure emotion. The composition is created without the mediation of the figure, without the representation of objects, without the depiction of naturalistic panoramas, so much so that the exercise of painting becomes an experience that is not only visual but also sensorial and tactile.
Remarkable is the complexity that he manages to obtain with simple pictorial structures, mostly monochrome, elementary in the constructive module with the sole intention of giving "form to the formless".
The dialectical presence of two opposing values: light and non-light which the artist manages with a chromatic reduction and a geometric compositional system, not devoid of suggestiveness, is veered towards thickenings and rarefactions which compose a random arabesque of lines , in a reverberant play of figure and background. Perhaps we are faced with a sort of autograph writing that originates in the depths of the unconscious. With their dynamic tension we hypothesize that those signs are the recording of his creative gesture, the cipher of a vital impulse that wants to dominate emotion, with the aim of transforming indistinct personal memory into an instrument of analysis and self
knowledge. With this exhibition Laura Marello makes us foresee a future season full of meditation and concentration, of existential expressiveness and narrative vigor.
narrative force.
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.
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 likes to underline 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 obsessively focusing on the use of pigments and the search for gestural expressiveness - also through the practice of shodō - that his uniqueness emerges, always outside the box!
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 current or artistic vision. In the end, the final 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 children of his academy).
He has three children, two of whom are still young. His inner child is vital; when he creates he does it 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 obsessively focusing on the use of pigments and the search for gestural expressiveness - also through the practice of shodō - that his uniqueness emerges, always outside the box!
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 current or artistic vision. In the end, the final 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 children of his academy).
He has three children, two of whom are still young. His inner child is vital; when he creates he does it 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.
Flaviana Chiarotto
Flaviana Chiarotto's creative activity is characterized by an engaging and cordial operation, in the sense that the mental connotations are enriched by that fluid vibration of the heart, to which she refers every time she puts her hand to the palette , without ever forgetting that the "par images" conversation is a continuous, incessant and exhilarating communicative process entrusted to a research that is not only stylistically technical, suggestively unpredictable in its results, but also, if not above all, refinement and improvement of a language that no artist should ever consider definitively achieved or completely taken for granted. Aware of all this, Flaviana Chiarotto, born on 8 April 1954 in Loreo, in the province of Rovigo, and resident in Piedmont, instills in her paintings that Bergsonian "élan vital" which is impetus, projection and cathartic process at the same time.
By virtue of this uncommon prerogative it can communicate moments that are from time to time expressions of tenderness, affection, reflection, abandonment, expectation, hope, nostalgia, truth or everyday life, just as they are dispensers of memorial evocations, of interior retreats in search of distant memories or segments of the soul sedimented in her since childhood.
The jovial exuberance that largely emanates from her canvases, even if sometimes tempered by the mask of her melancholy, like a sort of autobiographical mirror, and the tasty fruit of a nature, such as that of the Venetian painter, open, sunny , transparent in the approach with one's peers, not knowing the exhausting and acrimonious corrosion of envy, a very widespread negative feeling in the artistic environment, which invariably ends up consuming those who feed on it or wickedly take pleasure in it.
Chiarotto's painting, gratified by qualifying recognitions, is the luminous emanation, with intermittent, complementary winks of good-natured shade, of a temperament that spreads with amiable immediacy in the simplicity of feeling and in the genuineness profuse in the works, the which tell us about her, about her vision of the world and put us in tune with the fragrance of her being poetically a woman.
Text extracted from the book: “Woman in the History of Art” by Giuseppe Nasillo, Edizioni Pentarco Turin
By virtue of this uncommon prerogative it can communicate moments that are from time to time expressions of tenderness, affection, reflection, abandonment, expectation, hope, nostalgia, truth or everyday life, just as they are dispensers of memorial evocations, of interior retreats in search of distant memories or segments of the soul sedimented in her since childhood.
The jovial exuberance that largely emanates from her canvases, even if sometimes tempered by the mask of her melancholy, like a sort of autobiographical mirror, and the tasty fruit of a nature, such as that of the Venetian painter, open, sunny , transparent in the approach with one's peers, not knowing the exhausting and acrimonious corrosion of envy, a very widespread negative feeling in the artistic environment, which invariably ends up consuming those who feed on it or wickedly take pleasure in it.
Chiarotto's painting, gratified by qualifying recognitions, is the luminous emanation, with intermittent, complementary winks of good-natured shade, of a temperament that spreads with amiable immediacy in the simplicity of feeling and in the genuineness profuse in the works, the which tell us about her, about her vision of the world and put us in tune with the fragrance of her being poetically a woman.
Text extracted from the book: “Woman in the History of Art” by Giuseppe Nasillo, Edizioni Pentarco Turin
Michele Berlot
I am an architect, born in '63. I became passionate about technical drawing and from there my "expressive" path was born and developed: first abstract drawings made in ink, the mixed techniques of the early nineties, then using CAD, in computer graphics.
In parallel, I also dedicated myself to "hand" drawing, made with traditional techniques.
Then I discovered the subject and started painting. My painting can be defined as informal, but it is definitely non-gestural informal. It needs a background preparation on which to then work, spreading the color so that the brushstroke is not perceptible.
I currently use paper and glue mixed with colour: 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 also find faces or figures that seem to inhabit the canvas, a microcosm in which everyone can imagine and build their own story.
In parallel, I also dedicated myself to "hand" drawing, made with traditional techniques.
Then I discovered the subject and started painting. My painting can be defined as informal, but it is definitely non-gestural informal. It needs a background preparation on which to then work, spreading the color so that the brushstroke is not perceptible.
I currently use paper and glue mixed with colour: 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 also find faces or figures that seem to inhabit the canvas, a microcosm in which everyone can imagine and build their own story.
Rosetta Vercellotti
Rosetta Vercellotti, from Turin, began painting in 1977. She began using charcoal and then continued with wax crayons, ecoline, oils and acrylics.
From the figurative she moved to the abstract, a genre she still prefers today.
Rosetta has exhibited in various personal and collective exhibitions in Italy and abroad. Among other things, she was present at the Promotrice delle Belle Arti in Turin from 1991 to the present and at the Turin Garrison Officers' Club in 1993. She participated in the International Visual Arts Exhibition of the Lazio Region dedicated to "Planet Woman" with an exhibition collective at the Sinesi Cultural Center in Rome in 1996. He has received numerous awards. She was first classified for style at the "Trastevere" international prize in 1996 and first classified for abstract painting at the "Ripetta" prize in Rome in 1997.
In 2016 and 2019 he exhibited at the Circolo degli Artisti in Turin, in 2016 in the Gastaldi Gallery of the Santuario di Graglia, in 2020 at the Spazio Mouv in Turin and in 2022 at the Conti Avogadro Cultural Center in Cerrione.
Again in 2022 he held a large anthological exhibition at the prestigious Palazzo Barolo in Turin entitled "Sensibile Unknown" curated by Dino Aloi.
In 2015, Angelo Mistrangelo signed the monograph “Rosetta Vercellotti the world of the unconscious” for her, a monograph which is present in the libraries of the Metropolitan Museum of Art and the Guggenheim Museum in New York.
In 2018 Claudia Ghiraldello published the book "Rosetta Vercellotti, the woman and the works", a collection of the artist's production in recent years.
The volume “Nuovo Respiro” was released in 2022.
The books are published by the Il Pennino publishing house of Turin.
In 2023 the collaboration with Bohmfineart begins.
From the figurative she moved to the abstract, a genre she still prefers today.
Rosetta has exhibited in various personal and collective exhibitions in Italy and abroad. Among other things, she was present at the Promotrice delle Belle Arti in Turin from 1991 to the present and at the Turin Garrison Officers' Club in 1993. She participated in the International Visual Arts Exhibition of the Lazio Region dedicated to "Planet Woman" with an exhibition collective at the Sinesi Cultural Center in Rome in 1996. He has received numerous awards. She was first classified for style at the "Trastevere" international prize in 1996 and first classified for abstract painting at the "Ripetta" prize in Rome in 1997.
In 2016 and 2019 he exhibited at the Circolo degli Artisti in Turin, in 2016 in the Gastaldi Gallery of the Santuario di Graglia, in 2020 at the Spazio Mouv in Turin and in 2022 at the Conti Avogadro Cultural Center in Cerrione.
Again in 2022 he held a large anthological exhibition at the prestigious Palazzo Barolo in Turin entitled "Sensibile Unknown" curated by Dino Aloi.
In 2015, Angelo Mistrangelo signed the monograph “Rosetta Vercellotti the world of the unconscious” for her, a monograph which is present in the libraries of the Metropolitan Museum of Art and the Guggenheim Museum in New York.
In 2018 Claudia Ghiraldello published the book "Rosetta Vercellotti, the woman and the works", a collection of the artist's production in recent years.
The volume “Nuovo Respiro” was released in 2022.
The books are published by the Il Pennino publishing house of Turin.
In 2023 the collaboration with Bohmfineart begins.
Carlo Cammarota
Carlo Cammarota was born in Campobasso, Molise, in 1949.
After the ritual attendance at school he obtained a diploma as a mechanical designer, thus discovering a predisposition for drawing and painting which, after wanderings through the cities of Italy, led him to Fiat in Turin.
But intolerant of the rigidity of factory work, his stay was short and tormented. Thus begins a bohemian life amidst a thousand difficulties.
He frantically consults catalogs and monographs and visits art exhibitions. Participate in painting competitions. He exhibits in various group and solo exhibitions in public and private spaces, thus creating a private clientele that still follows him assiduously.
Knowing full well that the future that the artist has behind him is a suspended song that continues to be valid through the commitment of painting, Cammarota is not blinded by false linguistic myths and therefore continues with an authentic vocation the testimony of his artistic journey.
After the ritual attendance at school he obtained a diploma as a mechanical designer, thus discovering a predisposition for drawing and painting which, after wanderings through the cities of Italy, led him to Fiat in Turin.
But intolerant of the rigidity of factory work, his stay was short and tormented. Thus begins a bohemian life amidst a thousand difficulties.
He frantically consults catalogs and monographs and visits art exhibitions. Participate in painting competitions. He exhibits in various group and solo exhibitions in public and private spaces, thus creating a private clientele that still follows him assiduously.
Knowing full well that the future that the artist has behind him is a suspended song that continues to be valid through the commitment of painting, Cammarota is not blinded by false linguistic myths and therefore continues with an authentic vocation the testimony of his artistic journey.
Silvia Rege Cambrin
Silvia Rege Cambrin was born in Coazze (To) on 1 August 1957. She lives and works in Giaveno (To).
Since she was a child, she had a great propensity for drawing and a strong attraction for colours. Despite not having completed artistic studies, her love for art pushed her to experiment with numerous techniques such as ceramic painting, charcoal and watercolour. After obtaining her scientific high school diploma, she enrolled in the faculty of Natural Sciences. Due to a form of internal discontent and restlessness, he subsequently interrupted his university studies, consequently dedicating himself to some unconventional disciplines (astrology, psychobiology, energy rebalancing techniques, tarology) aimed at a more subtle understanding of the mystery of Life. But her artistic aptitude has always emerged in an irrepressible way and, compatibly with her work commitments in the family business and her maternal duties, periods of creation have always alternated throughout her life. The improvement of the oil technique then spurred her to stoke her creative fire to the maximum, dedicating herself fully and with fervent alacrity to the creation of a gallery of works inspired by her profound desire to penetrate the soul of the subjects by distilling their harmony.
Since she was a child, she had a great propensity for drawing and a strong attraction for colours. Despite not having completed artistic studies, her love for art pushed her to experiment with numerous techniques such as ceramic painting, charcoal and watercolour. After obtaining her scientific high school diploma, she enrolled in the faculty of Natural Sciences. Due to a form of internal discontent and restlessness, he subsequently interrupted his university studies, consequently dedicating himself to some unconventional disciplines (astrology, psychobiology, energy rebalancing techniques, tarology) aimed at a more subtle understanding of the mystery of Life. But her artistic aptitude has always emerged in an irrepressible way and, compatibly with her work commitments in the family business and her maternal duties, periods of creation have always alternated throughout her life. The improvement of the oil technique then spurred her to stoke her creative fire to the maximum, dedicating herself fully and with fervent alacrity to the creation of a gallery of works inspired by her profound desire to penetrate the soul of the subjects by distilling their harmony.
Walter Parini
Walter Carlo Parini was born in Arluno in 1953, a hardworking town in the Milanese hinterland.
Since he was a boy he demonstrated a strong propensity for art and painting, passions that led him
to enroll and graduate, with dedication and profit, at the Salesian school of graphic arts in Milan,
so much so that in 1969 he achieved the first national prize for Graphic Teaching at the GEC. The mu-
tiform Milanese city, epicenter of the new technical-artistic avant-gardes, becomes part
of his acquaintances on a stable basis, giving shape and energy to that creative humus which over time
it concentrates and refines, in a constant innovative review, through the aid of techniques
graphics of which he makes personal use which leads him to free himself from the canons of the time and to demonstrate himself
versatile innovator, both as a freelance graphic designer and as a volcanic artist.
The shapes and colors, key points in Parini's production, interpreting the material in a way
iconic modular, through a dialectic of continuous re-elaboration and re-elaboration of life which
pulsates around man, placing him among the protagonists of the artistic and cultural renewal of
80s and 90s: his hyper-material multiples, visionary sculptures and ground-breaking graphic productions
no with the concept of anonymous normality, a theme dear to the artist, distancing him from everything that
falls within the canons of commercial circuits, to make him a visionary singer capable of ranging from
trashy to the sublime.
Still active today in the field of painting and sculpture, he has recently exhibited some of his works
most representative works at the Bohm Fine Art gallery in Turin.
He also boasts the creation of three children's books and a dedicated book of drawings and thoughts
to his mother Eleonora who passed away in 1992.
But Parini's journey continues towards new goals, propelled by the wings of his own vision
introspective of that curious and rebellious child that dwells within him.
Since he was a boy he demonstrated a strong propensity for art and painting, passions that led him
to enroll and graduate, with dedication and profit, at the Salesian school of graphic arts in Milan,
so much so that in 1969 he achieved the first national prize for Graphic Teaching at the GEC. The mu-
tiform Milanese city, epicenter of the new technical-artistic avant-gardes, becomes part
of his acquaintances on a stable basis, giving shape and energy to that creative humus which over time
it concentrates and refines, in a constant innovative review, through the aid of techniques
graphics of which he makes personal use which leads him to free himself from the canons of the time and to demonstrate himself
versatile innovator, both as a freelance graphic designer and as a volcanic artist.
The shapes and colors, key points in Parini's production, interpreting the material in a way
iconic modular, through a dialectic of continuous re-elaboration and re-elaboration of life which
pulsates around man, placing him among the protagonists of the artistic and cultural renewal of
80s and 90s: his hyper-material multiples, visionary sculptures and ground-breaking graphic productions
no with the concept of anonymous normality, a theme dear to the artist, distancing him from everything that
falls within the canons of commercial circuits, to make him a visionary singer capable of ranging from
trashy to the sublime.
Still active today in the field of painting and sculpture, he has recently exhibited some of his works
most representative works at the Bohm Fine Art gallery in Turin.
He also boasts the creation of three children's books and a dedicated book of drawings and thoughts
to his mother Eleonora who passed away in 1992.
But Parini's journey continues towards new goals, propelled by the wings of his own vision
introspective of that curious and rebellious child that dwells within him.
Jessica Spagnolo
Jessica was born in Turin, graduated from the First Artistic High School and graduated in Architecture. He paints in search of new romanticism. Her pictorial restlessness pushes her to experiment in search of the self, a chimera of every artistic expression of introspection.
Much of the training takes place thanks to the Dutch artist Marta Nieuwenhuijs and the teachings of the master Daniele Fissore.
She has participated in numerous group exhibitions and was the curator of the Artes International Exhibition – Turin for four editions, and to date she is judge and patron of art events and exhibitions.
Much of the training takes place thanks to the Dutch artist Marta Nieuwenhuijs and the teachings of the master Daniele Fissore.
She has participated in numerous group exhibitions and was the curator of the Artes International Exhibition – Turin for four editions, and to date she is judge and patron of art events and exhibitions.
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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