NEWS Introduction to artist Sersalensis' one man show
vincenzoBorelli
Vincent BORELLI artistically known as "SERSALENSIS" for his/her origins
of Sersale (Catanzaro), it opens Sersalese to the public for the month of
December
2004 a new show of art "personal" from the theme: «The art to stop the
time».
Defined from critical and characters of the world of the art, "emergent
artist"
of the "new contemporary figurative kind" Vincent Borelli is known
by now in mean world and above all to the south Italy, Internet graces,
mainly as "the painter of the portrait", so much is true that from USA in
America, Orazio TANELLI Founder and director de "The Italo-American Bridge",
cultural magazine of Art and poetry, in a letter addressed to the artist
you/he/she has declared: «your fame has overcome the confinements of Italy
and you/he/she has reached
the United States. I pray you therefore of. to collaborate to our magazine
international, in which would like to introduce you to our readers».
They are by now in effects, numerous the years that the artist with courage
and nerves
firm, among immoderate difficulty (to motive for the initial heat of a
market
developing as it is that of the south) and above all now with this crisis
what it grips the whole world, continuous to advance in artistic field, in
the
what you/he/she is dipped completely, devoting himself/herself/itself full
time, in one
difficult profession qual is note that of the art and neglecting
more sheltered and profitable works.
With this performance the artist intends to explain to the public of Sersale
the
enormous massive structure of job manual, as well as intellectual that is
behind her/it
realization of his/her gigantic masterpieces and portraits because it is
him/it
style, in the technical search, in the spiritual acumen (not understood in
sense
religious) that it manifests him the intelligence and the renown of a man,
that
in the case of Borelli we could define her/it in constant change.
The art of Vincent Borelli is composed of rigorous studies on the form, from
one
measured harmony and sobriety of the image, but also of a sudden and
unexpected (at times) separation from the figurative one to fall in the
informal one,
just as it is his/her temperament, never constant, but done of tall and low,
of
frantic job and of complete apathy.
It is interesting (speaking of the informal one) what writes of Him a critic
of Arte[1] on the occasion of a show around in Trentino to which it has
participated: "Vincent Borelli expresses one deep philosophical line of his
intersecting theoretical sociological to painting and orchestrating this for
her
presentation of one original hedonism of his.. The pictorial effect perhaps
of it
you/he/she is penalized, but a superior meaning raises him that would be
able
to represent the backbone of the same art."
In the monthly regional "The Calabrians in the world", of the month of May
2004,
I edit from the region Calabria, the journalist and critic of art Alberto
Maria
SCRIMA defines the artist «a peaceful person and optimist, balanced and
active, artistically rebellious; lover of the nature and the places which it
is
grown and where continuous to Live: Sersale» - and it adds - «In the little
lines of presentation of his/her life of artist Borelli it marks a furrow
I lavish that riempie of theological philosophical contents and pure art.
Not to
case the production of Sersalensis is poliedrica in the sense that proposes
various
pictorial solutions, passing with the same boldness
"to set" on a table a precious icon or a landscape from the slim ones
colors of the water-color, to the acrylic colors, to the strong
representations of the
mural, to the jobs to start, to the marked colors to oil of the more note
pictorial tradition.»
Vincent Borelli doesn't belong to that generation of pseudoartisti that
they believe that the being artist with her "Á." capital it means to produce
manufactured articles in great quantity, him instead to damage of the mass
(and of the
market) it has a preference for the quality that certainly expresses him in
little
exemplary, that have in if the enormous potentiality to know how to extract
dall'
mind of the artist himself those prerogatives and values that characterized
and the life of lived characters they made a lot of time great before Him.
He applies for times in his/her own job, it studies the subject, the work
from
to realize, not only from a technical point of view, (even if the technique
ago
part of his/her artistic search) but first of all ethical, in fact,
sharing to full Paul's PASOTTO words artist Bolognese (living)
what you/he/she has affirmed: «Artist is he who you/he/she expresses ethical
pel through of the
aesthetics. Aesthetics is that generality of the object of the perception
that
it underlines the way according to which you/they hold up him among them the
sensitive elements that him
they manifest. And, as good or bad ethics can be you, there will be also
good or bad aesthetics. Aesthetics witnesses objective factor her
subjectivity of the to perceive, is therefore accessible to the senses and
it is given through l
'image. But it is in the field of the art that today the renewal happens of
today every culture, and, is really the artist that can realize the reasons
that
they are at the base of a necessary culture to the humanity: Your intuitions
however don't take the street of the concept but, note, that of the
aesthetics,
ché, is not said that the art is one with the thinking conscience of the
artist:
It goes to complete a parallel run. . Art is the sensitive expression
of the universal equilibrium lived within the soul of the artist and the
activity
of it wants to be the ethical message from himself intuition and express
train
in the aesthetical work.»
He/she wonders us, to this point of the discourse, on what plain to set all
the
Artistic avant-garde that have characterized the whole history of the art
of the nine hundred: to answer to such a question is not what very easy,
it asks for all other treatment, and it is not even in the intention of this
brief introduction to teacher Borelli's show, to every way, we are able
well to say that if with TIEPOLO and CANOVA it ends an understood Italian
art as
international recognition and if for the Artists of that century - according
to
the opinion of some critical and historical ones of art - to the neoclassic
tendencies
ethics the artist assigned determined aesthetical coverings in which him
it attributed (both from the observer and of the artist) principal
importance to the manual mastery more than to the feeling and the
sensibility
of the "to feel" artistic infused by the artist in his/her own work, with
Javacheff CRISTO that it packaged the bridges (become famous to have wound
with strong cloths and ropes the bridge Neuf in Paris), Alberto Burri that
it glued on the "cloths" canvases of consumed cloth and lacerated that
ricuciva and
it dirtied of painting, to end with Lucio FONTANA that it became famous for
his "spatial concept" that it consisted in the bleached possession the cloth
with
a homogeneous layer of color (to the way of the imbianchinis) of
consequence practised with a knife sharp seven vertical cuts on her
cloth and the ninety preserves to the natural one in aluminum box sealed of
"merda (excrements) of artist" of Peter MANZONI[2], (a far descendant
of the writer of the "Promised Bridegrooms") it ends with these the
historical period
of the avant-garde, the following artists that follow these tendencies (more
what other for motives for market) they represent only a reflex a fashion,
momentary, precarious, fleeting to return to the traditional solid and
technical secular of the painting and the sculpture, so the flame, the fire
divine delivered in the twentieth century to the deadly communes he/she
returns to the gods,
or rather, to whom has natural inclination for the painting and the
sculpture.
To know more of the artist of it visited Sersalensis the site web to the
address:
www.sersalensis.it
[1] it deals with Oscar Visentin.
[2] The boxes of "artist's excrements" with glued around the can a'
he/she labels that in four languages (Italian, French, English and German)
it illustrates the product: «"Artist's excrements" clean content gr. 30
preserved
to the disposition produced and canned in May 1961» than above and brought
her/it
it signs with the number of the lottery. A comparison with the cans of
"Campbell" of
Andies Warhol, make to appear the last as ticket of presentation for
apprentices to the "Art", besides Peter Manzoni it is also known for the
containing toy balloon the "artist's Breath" and for the firm eggs in 150
exemplary, set around in a wood scatoletta with of the cotton wool,
you introduce in 1960 to the Gallery Azimuth and you sign with his/her own
imprint
digital. The eggs were offered to the public to be consumed on the place
("consummation of the dynamic art"). The egg is a caricature of the object
"signed" and product in series of the society of the consumptions, is a
derision
to the tall honors attributed d to the manufacturing artists of that kind'
art, that not only enters direct relationship with the spectator in sense
perceptive, therefore psychological but also biological materially becoming
food to be consumed literally digested and metabolized.