In line with one of the most recent strands of research in contemporary art, the artist G.P. chooses shamanic knowledge as a matrix for his own expressive evolution.
These new works, influenced by the previous hyper-realistic figurative context, develop with rational and emotiona
In line with one of the most recent strands of research in contemporary art, the artist G.P. chooses shamanic knowledge as a matrix for his own expressive evolution. These new works, influenced by the previous hyper-realistic figurative context, develop with rational and emotional intelligence the research of a primal archetype. Among the earliest works is the sea, expanse of water set in the traditional relationship of the horizon and the sky, to be submitted to the artistic investigation. It appears in its intimate essence, dark inscrutable surface where only the wave crests allow us to penetrate the dark surface. It is the mass, the sum and the form of the flowing of the senses that belong to the everyday, the volume of unconscious experience, hidden from the eyes but constantly present at the sight of the intellect. Still of water but this time solid and cold in the form of snow are part of a series of single and composed works that appear later: it is the image of the depth of an arctic crevasse that captures our gaze, important analogy with the intimate of human body, an analogy that unites nature and man in intimacy. But it is also snow as a surface, like skin. The memory of a passage , a walk but also a memory imprinted in the skin And in the memory of the individual. A synaesthesia between man and nature, hinged in the primal, in the small but also in the immense. In the archetype indeed. It could not end, for now, in the lightness of a shadow traced on the sand this interesting and delicate new investigation of the artist. Shadows and sand, light and warmth, absolute and intimate. The work of art as an evocation of the body but also an expression of a yearning for the spirit.