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Alessandro Bozzolan was born in Legnago (Vr) – Italy, in the year 1973 and he's lived in Polesine, in Bologna and in the Forlì-Cesena's province.
He got a diploma at scientific lycée and he's continued his own studies, prevalently the indological ones, at Bologna University.
As regards the his artistic activity, he's an autodidact and professes this job professionally.
His artworks deal meanly with the spirituality, which develops though settings placed in the nature, full by angels and animals.
The other way, used by him to express conceptualizations concerning the spirituality, is the abstract expressionism, an expressionism almost sculptural.
Thence the style employed by him it isn't fixed, but from time to time, in conformity with the concept and what he's going to display, the depicted artwork
can be an impressionistic one, a semi figurative one, an expressionistic one or an abstract one.
But, whatever style he's going to utilize, it's the spirituality and its complex and subtle nuances, the numerous traits that constitute it, what is pointed out.
This painting is a metaphysical one too: the animals and the angels populating his pictures are individuals indeed, and the same context can be symbolistic, in truth, also according to meanings that are proper to the oneiric world.
The light and the brightness are almost omnipresent, and they reveal the divine presence, the visual manifestation of it. Like that, an animal which's eating it's a person who is assimilating what he has learnt; some birds which are flying, they reveal a moment of an extraordinary spiritual elevation; and so on.
As regards the abstract expressionism, the composition of the colors combined with shapes allows him to express again a spiritual concept. And the same beauty, oftentimes joined the brightness, turns out to be a value.
At last, it isn't very important to him who's the painter, but the developed and expressed ideas play the most important part, and, as many indian saints have taught, the art shouldn't just amuse, but it should raise people. As a matter of fact, all forms of art are interconnected with the soul expression and they should be functional and useful, for their simplicity too, to the person who takes advantage of them and in which he/she is looking for something: something deep, something possessing value, something virtuous.
And it's the simplicity, natural, another important constituent of his artworks, and it sometimes gives up its own place to a spiritualism [the mirror of the spiritual pursuit], uneasy and progressionist, which proves itself by the color's combining and the same composition. It surely seems to be the emblem of the personal pursuit, the emblem of the will and the emblem of the endless nature of the soul.
The presence of chaped colors, due to the drying up of the numerous material coats, or the presence of other imperfections, not adjusted on purpose, points at another religious/spiritual law: the perfection is not to be pursued in the material world, but it belongs to other worlds, to another dimensions.