Federico Solmi, ‘The Liberator (George Washington)’, 2017, Video/Film/Animation, Hand painted 24 x 16 in. frame with acrylic and gold leaf on plexi and wood LED screen, digital animatio, Luis De Jesus Los Angeles
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Federico Solmi

The Liberator (George Washington), 2017

Hand painted 24 x 16 in. frame with acrylic and gold leaf on plexi and wood LED screen, digital animatio
Unique
On hold
Location
Los Angeles
Medium
Federico Solmi
Italian, b. 1973
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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.

Federico Solmi, ‘The Liberator (George Washington)’, 2017, Video/Film/Animation, Hand painted 24 x 16 in. frame with acrylic and gold leaf on plexi and wood LED screen, digital animatio, Luis De Jesus Los Angeles
Save
Save
Share
Share
Medium
Federico Solmi
Italian, b. 1973
Follow

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.

Federico Solmi

The Liberator (George Washington), 2017

Hand painted 24 x 16 in. frame with acrylic and gold leaf on plexi and wood LED screen, digital animatio
Unique
On hold
Location
Los Angeles
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