Federica Schiavo Gallery presents a dual show with Patrick Tuttofuoco (Milan, 1974) e Nicholas Byrne (Oldham, 1979).
Nicholas Byrne makes composite images, incorporating the stopping and reactivation of flows or fluxes, both representational and material. The works reverse engineer images by a technical invocation of various forms of traditional painting. Arguing for the use-value of muscle memory, in craft objects as a way in to new spaces of physical understanding. The works are formed around the activities of reading and learning to write, simultaneously. Arriving at various speeds and temperatures. Composed of superimpositions of febrile surfaces; built up, scratched into and layered over again. Curves, spirals and loops recur in dynamic forms, leading the gaze around the surface. Occasionally, uniform planes of colour impose themselves across the surface but don’t allow the eye to rest. Rather than providing a ground, planes of pure colour serve to obscure or colour-match forms and thus agitate perception.
The Celts series is a knotty triptych of gessoed panels. Made up-close, in an exercise of scanning from left to right and back again. By taking care of how individual shapes touch each other. A mood of compression, by force, occurs in muscular cliques of lines meeting. The picture here is the language that made the painting.
Patrick Tuttofuoco’s practice talks about individuals and their ability to transform their environment. It explores notions of community and social integration combining immediate sensorial allure with the power to trigger profound theoretical responses. Tuttofuoco integrates Modernism and Pop; he pushes figuration into abstraction, using man as the paradigm of existence, as matrix and measuring unit of reality. From this interpretative and cognitive process, infinite versions of man and the context of his existence are produced, from which shapes capable of animating sculptures are generated.
The artist presents The Power Napper a project consisting of twin sculptures representing a sleeping infant. Made of two different kind of marble (Carrara’s white veined and Italian’s black veined) created in CNC from a 3D scan, they represents the artist’s son, Rio. The artist’s narrative aims to give a spark of reflection of a post-human condition in a remote and distant future where our perception of space and time loses its original meaning and the human being survives just through his art bearing endless value and life.
Patrick Tuttofuoco has designed the sculptures’ supports as intrinsic part of the works. These elements, made of rough steel, are inspired by the idea of learning, of being able to see, as a help to perceive, understand and appreciate art. A concept of great importance for architects who created displays for exhibition spaces during the Italian post war period, of great inspiration for the artist’s work.