Federico Solmi’s Twisted Take on the 2016 U.S. Presidential Election
In satires of contemporary society, Federico Solmi places corrupt, archetypal villains among cultural figures (like the pope or Superman) whose interplay defines his surreal, dystopian realities. Using bright colors and a combination of historical and contemporary imagery—often nefarious, hostile, and sexually explicit—Solmi poses criticisms of the present world that take the form of drawings, paintings, video animations, and mechanical sculptures within his installations. In King Kong and The End of the World (2006), Solmi presents the iconic beast in an allegorical battle against New York City, while in The Evil Empire (2007), the Pope is controversially represented as a porn-addict. Based in New York, Solmi works in a laborious, meticulous fashion where his animations are created by hand-drawn frames, painting, and 3-D animation.
Italian, b. 1973