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people 's paintings
urban painting - towns
urban landscape ( big drawing mix painting)
urban landscape (little)
work in progress
NEW YORK PROJET
man furtif modern
APRIL 18 th TO APRIL 30 TH 2009
AT NEW ART CENTER
NEW YORK CITY
FOSCOLO 'S EXHIBITION
NEW SITE ON :
A city: stone, concrete, asphalt. Strangers, monuments. Institutions.
Megalopoles. Sprawling towns. Main roads. Crowd.
Hives of activities?
What’s the heart of a city? The soul of a city? Why it is said that a city is beautiful or that a city is ugly? What’s beautiful and what’s ugly in a city? How do I know a city? How do I know my city?
Georges Perec, Espèces d’espaces, Galilée 1974.
The recurring conceptual base of my whole work is in the ambivalent connection which we maintain with urban space. Space that reveals how our industrial societies work, image of the neurosis of human activism, of its escape ahead (as shown by Velickovic ...)
The city is, in most of the industrialized countries, a place of activism, of meetings, of life, a crossroad of possibilities that tends to develop a certain poetic but also a dramaturgy... Paradoxically its environment (the urban space) is a motionless place, by the architectural rigour, the heaviness of the concrete... Man surrounds itself, in order to feel more alive, by dead, non organic matter: buildings draw up in all their powers, static and stoical...
Plastically my work operates a swing of the perspectives, a distortion of urban space. The perspective is put here at evil, destroyed and rebuilt, changing in the image of its creator: Man. The "open" perspectives create an almost alive representation, sometimes even organic of the city (ca(pise)talism, the red passages, etc......) accentuated by an expansion of plastic and graphic signs (mixed techniques, sands, collage of newspaper etc.).
Technics that I use are often combined (inscription in the tradition of the American school: mixture of the techniques, collages, inks, painting etc.), thus revealing the evolution of urban space in full change...
Torsion, movement impregnate my vision of cities as if to illustrate the life of the city, its stress. Underlying to these urban sights, a tension is latent, almost palpable and visible: sight “in the twilight”, dark lights of the standard lamps, unstable balances of architecture, twilight sights of the sky...
It is this personal and paradoxical connection that I tend to produce plastically: a repulsion but also a fascination for these human architectural constructions, sculptures of everyday life, challenges to nature, assertions of our civilization. The city imposes itself on me like a space of timelessness, of poetry, a celebration of our urbanity.