Student Academic Involvement

Student

Academic Involvement

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Le mostre collettive e personali in esposizione presso il Corridoio Fiorentino vogliono comunicare  la realtà contemporanea delle arti digitali e coinvolgere la comunità con cui condividere la missione DIVA / IDEAS di interpretare e insegnare le arti attraverso i media digitali interattivi.

Il Corridoio Fiorentino offre un luogo fisico e una presenza online per le mostre attuali e passate create da fotografi affermati ed emergenti attraverso il supporto di FUA.

Il Corridoio Fiorentino è al servizio di studenti, docenti e artisti professionisti nel campo dell’immagine digitale preservando, collezionando, esibendo e promuovendo la comprensione delle opere d’arte, ai più alti standard accademici possibili.

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Group and solo exhibits are meant to communicate a contemporary vision of digital arts and involve the community with the DIVA/IDEAS mission of interpreting and teaching arts through interactive digital media. Group and solo exhibits are meant to communicate a contemporary vision of digital arts and involve the community with the DIVA/IDEAS mission of interpreting and teaching arts through interactive digital media. Corridoio Fiorentino provides a physical venue and online presence for current and past exhibits created by established and emerging photographic artists through the assistance of FUA. Corridoio Fiorentino is to serve students, faculty and professional artists in the field of digital imaging by preserving, collecting, exhibiting, and fostering the understanding of works of art, at the highest possible scholarly standards.

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West, For There Are Two

West, For There Are Two

by David Halloran

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FUA-AUF ALUMNI EXHIBIT | FALL 2019 SESSION III

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FUA-AUF ALUMNI EXHIBIT | FALL 2019 SESSION III

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West, For There Are Two by David Halloran

West, For There Are Two explores the duality of the American wilderness and the creatures that inhabit it. Halloran has traversed what appear to be empty Western spaces, capturing them from both omnipresent and confined positions. Placing viewers above and within the landscape, Halloran’s work exposes the dynamism between the fixed horizon that separates mountain and sky, hills and clouds, and the stirring habitats of birds, chipmunks, and snakes.

 

 

David Halloran is a photographer, writer, and editor living in Dallas, Texas. With a wanderlust-driven spirit, a bachelor’s in Photojournalism, and master’s in Journalism, he took his skills to Ink Publishing where he was the photo editor for American Airlines’ in-flight magazines for two years.
During his tenure with Ink, Halloran chased moose through the wilderness of Maine, worked with some of the best photographers and illustrators in the world, and drove Maseratis through the snow-covered Rockies, among many other adventures.

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West, For There Are Two esplora la dualità dell’immenso deserto statunitense, con i paesaggi e le fantastiche creature che lo abitano. Halloran ha attraversato spazi enormi, rendendone ogni angolazione migliore, posizionando i sui futuri spettatori sempre all’interno del paesaggio.
Il lavoro di Halloran espone quindi un dinamismo visivo originale tra l’orizzonte fisso, che separa montagna e cielo, colline e nuvole, e gli emozionanti habitat naturali, riprendendone gli uccelli, gli scoiattoli e persino i serpenti.

David Halloran è un fotografo, scrittore ed editore che vive a Dallas, in Texas.
Con uno spirito d’avventura sopra la media, una gran voglia di viaggiare, una laurea in Fotogiornalismo ed un master in Giornalismo, ha potuto dedicarsi ad Ink Publishing, come redattore fotografico per le riviste di volo di American Airlines per due anni.
Durante il suo mandato con Ink, Halloran ha inseguito alci attraverso il deserto del Maine, ha lavorato con alcuni dei migliori fotografi e illustratori del mondo e ha guidato Maserati attraverso le Montagne Rocciose innevate, oltre a tante altre avventure che possiamo goderci nei suoi lavori fotografici.

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Leonard Bundu by David Andrè Weiss

IL LEONE LEONARD BUNDU

David Andrè Weiss

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Corridoio Fiorentino, the gallery of the Digital Imaging and Visual Arts division of Florence University of the Arts – The American University of Florence (FUA-AUF), presents “Il Leone” by David Weiss.

This exhibit will be held online from April 30th until May 13th through a virtual exhibition hosted at corridoiofiorentino.it.

Works will include a special series of photographs that capture the famed professional Italian boxer Leonard Bundu, alias “Il Leone,” originally from Sierra Leone.

Bundu lives in Tuscany and represented the Italian Team at the 2000 Olympic Games where he defeated the world champion Daniel Geale. He has held multiple regional welterweight championships including the European title twice in 2011 and 2016.

In this photo exhibit the images reveal different moments that Leonard has had to face. Gaining a victory implies embarking on a journey, a story, and a beginning.

The series also underlines the decisions that individuals have to make, choices in life that in turn lead to our destiny.

 

The following courses and their respective FUA-AUF divisions have contributed to the event organization:

DIVA | DIGITAL IMAGING AND VISUAL ARTS

Exhibitor: David Andrè Weiss

Curators: Introduction to Creative Videomaking EL

 

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Corridoio Fiorentino, la galleria di DIVA, i dipartimenti di Digital Imaging e Visual Arts di FUA-AUF, presenta “Il Leone” di David Weiss, una mostra fotografica che si terrà solo online, dal 30 aprile 2010 al 13 maggio 2020, sulla pagina web corridoiofiorentino.it.

L’evento virtuale includerà una collezione di scatti firmati David Weiss, del famoso pugile professionista italiano Leonard Bundu, chiamato da tutti “Il Leone” per la sua determinazione sul ring. Bundu è originario della Sierra Leone, ma adesso vive in Toscana, ed ha a combattuto in Italia per tanti anni, in diversi tornei nazionali ed internazionali. Nel 2000 ha rappresentato la squadra italiana ai Giochi Olimpici, dove ha sconfitto il campione del mondo, Daniel Geale. Bundu ha partecipato a due campionati regionali welter, incluso il titolo europeo, per ben due volte, tra il 2011 e il 2016.

Queste immagini proposte in mostra rappresentano i diversi momenti, anche intimi, che Leonard ha dovuto affrontare: raggiungere una vittoria implica avere un viaggio, una storia ed un inizio continuo.

La serie di scatti porterà il visitatore a riflettere sulle scelte della vita, che ci portano inesorabilmente al nostro destino.

Il seguente corso e rispettivo dipartimento di FUA-AUF ha contribuito all’organizzazione dell’evento:

DIVA | DIGITAL IMAGING AND VISUAL ARTS

Exhibitor: David Andrè Weiss

Curators: Introduction to Creative Videomaking EL

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Eros and Logos: Between Reason and Pleasure.

Eros and Logos

Between Reason and Pleasure.

DIVA/IDEAS Final Student Exhibit

[:en]Florence University of the Arts – The American University of Florence (FUA-AUF) will open online, on corridoiofiorentino.it, the DIVA/IDEAS final Spring 2020 Semester student exhibit Eros and Logos: Between Reason and Pleasure. The exhibit will inaugurate on Thursday May 14, 2020.

The word Eros is simply rendered in English as “love,” but the term holds a greater and more passionate significance than such a simplification. Eros is a deeply sensual, erotic, sometimes irrational love. A love that can vary in intensity and interpretation for everyone. Just as love is passionate, so is creativity. Love can be so energetic that it is equivalent to vital life energy. Erotic and creative energy is a fundamental spiritual aspect of human life. But Eros can be chaotic, and it needs to be grounded to function effectively. The counterpart to Eros is Logos, the true principle of rationality. Logos grounds Eros but does not constrict it. Rather, it gives love objective interest and reason as why to use its energy.

In artistic endeavors, Eros and Logos are constantly working in tandem, whether one is aware of it or not. Creativity needs rationality and vice versa; communicating as the inner essence and outer expression. Art strives through creative purpose, and Eros and Logos personifies this scope in every detail. We can often forget that we all have a driving creative energy and often minimize this quality by assigning it to “artistic” beings. But we are all creative in our own ways, manifesting our Eros and Logos in a variety of mediums and areas. The courses selected for the final exhibit include Introduction to Digital Animation; Project for Sustainable Interior Design II; Digital Graphic Illustration; Introduction to Digital Photography; Interior Design Materials and Furnishing; Intermediate Interior Design; Introduction to Photography: From Darkroom to Digital; iPhoneography; Instant Communication: Words, Images, News; Landscape and Architectural Photography; Photojournalism; and Introduction to Fashion Photography.[:it]FUA-AUF Florence University of the Arts – The American University of Florence aprirà online, su corridoiofiorentino.it, Eros and Logos. Between Reason and Pleasure, la mostra degli studenti di Fine Arts che conclude lo Spring Semester 2020. Tutti i lavori saranno online da giovedì 14 maggio 2020.

Non è possibile tradurre questo concetto come “amore”, l’Eros è molto più grandioso e appassionato. L’eros è un amore profondamente sensuale, erotico, a volte irrazionale. Un amore che può variare in intensità e interpretazione, per chiunque.

E come l’amore è passionale, così come la creatività, è ancora di più energico, forse è proprio definibile come energia creativa, vitale.

L’energia erotica e creativa sono aspetti spirituali fondamentali della vita umana. Ma l’eros può essere anche molto caotico e per questo deve essere domato per funzionare in modo efficace. La controparte di Eros è infatti Logos, il vero principio di razionalità. Il logos regola l’eros, ma non lo restringe. Piuttosto, dà all’amore interesse e ragione, motivo per consumare la propria energia.

Negli sforzi artistici, Eros e Logos lavorano costantemente in coppia, indipendentemente dal fatto che ne sia consapevole. La creatività ha bisogno di razionalità e viceversa; comunicare come essenza interiore ed espressione esteriore. L’arte aspira allo scopo creativo e l’eros e il logos personificano questo in ogni dettaglio. Spesso possiamo dimenticare che tutti noi abbiamo un’energia creativa alla deriva, spesso riducendo al minimo questa qualità agli esseri “artistici”. Ma siamo tutti creativi a modo nostro, manifestando il nostro Eros e il nostro Logos, in una varietà di mezzi e aree di interesse.

I corsi selezionati per partecipare alla mostra finale sono Introduction to Digital Animation; Project for Sustainable Interior Design II; Digital Graphic Illustration; Introduction to Digital Photography; Interior Design Materials and Furnishing; Intermediate Interior Design; Introduction to Photography: From Darkroom to Digital; iPhoneography; Instant Communication: Words, Images, News; Landscape and Architectural Photography; Photojournalism e Introduction to Fashion Photography.[:]

Photojournalism

Intermediate Level

Photojournalism

Gillian Mitreuter, A Brief Moment In The Sun

Immagine 1 di 2

New York City Fashion Institute of Technology Digital File None After dinner my brother, Matthew, walks up the stairs as the setting sun shines through the window onto his face.

Photojournalism

Gillian Mitreuter, Madison Kids, Meg Schwieterman, Clayton Monarch

Through lectures and discussions, students addressed contemporary issues such as the cultural, social, and political influence of images and journalism on society as well as ethic and legal issues in photojournalism.

By analyzing influential photographers and different styles of storytelling, the students were able to develop a personal sensibility and point of view that they translated into the production of the final project.

Instructor: Simone Ballerini

Solo Exhibit and Publication of Solo Work 

SOLO EXHIBIT

and Publication of Solo Work 

 FUA-AUF Career Photography Students

TEJAS BALAPALLI

Tejas Balapalli

A NEW CHAPTER

FUA-AUF Career Photography Student

The Coronavirus outbreak in the north of Italy started to panic all across the country. I found myself in a situation where my friends were all returning home, on by one, day by day. I decided to remain so I spent days saying goodbyes to all those people who never intended to leave.  I honestly did not know how to cope with the situation. At the time I didn’t understand why everyone had to be so overdramatic about things that did not affect them or maybe I did and I just didn’t want them to leave. This news created panic across the city and the evergreen streets of Florence suddenly turned into a graveyard. I barely recognized the streets anymore.  People are coming out only in the morning to shop at the supermarkets waiting in the line for hours. I would think how could they wait so patiently?  Were they not scared of tomorrow?  What about the mental stress due to all the distress? Can we manage to be by ourselves? What about not being able to have human contact and for how long?   While these questions stayed on the back of my head I came to accept that I have to live with it anyhow. I can regret and cry about it or make peace with it. I chose peace and that didn’t come so easily, I had to go through a cycle of repetitions where the previous day wasn’t much different from the present day. I had to rethink everything again and again, but when I did, when I came to understand that the things I am trying to control are forces beyond my capability, I began to accept it. There was a moment of peace within, A sense of clarity where I saw things for as they are separated from the thoughts that held me back. As though I distanced myself from my bubble. When I did so I was faced with a new challenge of asking myself the question once again, 

“ Who am I? ”

I began to build myself together from the basic, trying to build a whole. This chapter of my life majorly influenced by the  pandemic might have been hectic to a lot of people in a lot of ways but it helped to destroy who I was to rebuild myself a new me.

Tejas Balapalli | FUA-AUF Career Photography Student

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CHICHIN HU

LIVE

Chin Hu

FUA-AUF Career Photography Student

This year, 2020, is a big year for the whole world. The Corona virus has affected everybody’s lives. It also affected mine, I had to leave my adopted home in Italy and return back to place of birth.

Yet a funny thing happened. I started to realize how important it is to be with the people I love and to appreciate them while they are still around. The world is changing every second and life was changed completely into something different within two weeks.

This project started the moment I had to leave Italy due to the virus. I decided to try to visualize the feelings I had as I was traveling back home.

I took a completely empty train from Florence to Rome and the first time I saw a completely empty Rome. It as if the city was inaialated.

When I arrived in Taiwan there was a huge contrast. Rome was empty but in Taiwan there were people everywhere.  Everyone was in mask.

That scene was like the end of the world, people escaped from dangerous countries back to Taiwan, with panicked faces. Due to the law I had to be sequestered in a room for a two week quarantine. In those two weeks I couldn’t see my family, I mean, they were allowed to bring me some foods but we barely had any body connection.

That time I felt lonely, the first time in life I desired so much to be with my family like when I was younger… a past life. From the time I was 13 I studied and worked away from home, I used to like being alone and independent. But the corona virus situation made me want to see my family badly and it put me in a depression.

After my quarantine I realized more about the importance of cherishing. To look at the Corona virus in a good way.  It gave me have chance to be with my family. When I look at them I realize they are already older.  Being away years and years from home, I realized made me miss them a lot and my sister just turned 18.  I could not believe this, I never participated in her growth and she became a big girl.

Alive is a gift, while a lot of people is dying, loosing people they love in the world, my life is so grateful.  I can be here, the land I was born in and with the people I love while they are still healthy.  I can have this chance to stop here, to look at them, to understand them more.

Alive, for me its just our individual feeling, the religion, family, and the nature environment.

When I returned I received a big surprise. My stepfather finally became our official father by law. Since I was 10, he met my mom and they started to be together.  Having no child, he took us as his daughters in blood and treated us even better than our real dad.

A childhood memorie. When mom just started dating my stepfather, there was a night when we went for a family trip. When we returned home I saw my real dad’s car was waiting outside.

My dad jumped out from his car with two golf clubs in hands, he started yelling and beating my mom and my stepfather.  in that moment, the only thing my stepfather did was to push us to the side and he ask my dad to go with him. He was without any weapons and he let my dad beat him until both of golf clubs broke. My dad left with satisfaction.  My stepfather was all in blood. Right at that moment I understood who would stay with us to protect us forever and he did.

For me, my stepfather is a hero. He was never a rich man but was willing to give me everything he could. He says he is not smart.  He couldn’t make lot of money but he would rather use his his hands and labor to build dreams for our family. He will be there and wont ever leave. He gave me all the love and he did everything my mom needed and never fought with us. Years and years passed.  My stepfather and my mom spent all their effort to fix the finance problem my dad left and finally, last year in 2019, they finished all of their debt and got married.

After a year of fighting in court, after I got home, we finally got the announcement that we are a real family under the law.

So 2020 for my family is remarkable. To record this amazing year, I choose their stories as my project. I made images of them to show who they are to me and how grateful I am to have them.

Chin Hu | FUA-AUF Career Photography Student

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Joe Castellucci

Modern Peaks

Joe Castellucci

FUA-AUF Photography Student

[:en]Modern Peaks is a collection of photographs that incorporates many different photographic techniques and processes. Buildings are everywhere and people may not realize that they are their own works of art. Someone had to design it with the intention to be viewed and utilized. With this series I printed or rearranged buildings of contemporary and classic design to create a new space out of existing architectural forms. By utilizing the forms and textures of old and new buildings and then blending them together one may see the similarities and differences that are in one city alone. This collection of photographs is a look into what urban or rural architecture may look like as contemporary architecture design is becoming more popular. By looking at the parts of these rather innovative and futuristic structures we can get an idea as to how we might build our urban landscapes now and into the future. These images inspire one to look at more than just the building as a whole, but at the individual parts and the design that they embody.
In this way, my work parallels the multiple layers of perception involved in the experience of architectural space.
I enjoy the double take, the investigation that is needed to figure out just what it is that one is looking at. By transforming what is familiar and common around us I hope to reveal something more complex and mysterious. This draws attention to the ways that we construct the world by looking at it as it makes us question the origin or history of a building or style of architecture. When our perspective shifts or is distorted, new understanding and meaning becomes possible.

Joe Castellucci | FUA-AUF Photography Student

BACK TO WALL[:it]Modern Peaks is a collection of photographs that incorporates many different photographic techniques and processes. Buildings are everywhere and people may not realize that they are their own works of art. Someone had to design it with the intention to be viewed and utilized. With this series I printed or rearranged buildings of contemporary and classic design to create a new space out of existing architectural forms. By utilizing the forms and textures of old and new buildings and then blending them together one may see the similarities and differences that are in one city alone. This collection of photographs is a look into what urban or rural architecture may look like as contemporary architecture design is becoming more popular. By looking at the parts of these rather innovative and futuristic structures we can get an idea as to how we might build our urban landscapes now and into the future. These images inspire one to look at more than just the building as a whole, but at the individual parts and the design that they embody.
In this way, my work parallels the multiple layers of perception involved in the experience of architectural space.
I enjoy the double take, the investigation that is needed to figure out just what it is that one is looking at. By transforming what is familiar and common around us I hope to reveal something more complex and mysterious. This draws attention to the ways that we construct the world by looking at it as it makes us question the origin or history of a building or style of architecture. When our perspective shifts or is distorted, new understanding and meaning becomes possible.

Joe Castellucci | FUA-AUF Photography Student

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M.

Expiration Date / If I was a man

M.

FUA-AUF Career Photography

How many times have you or someone you know felt anxious and in pain from societies hypocritical rules? How many times did you feel like screaming but couldn’t because you didn’t know what to say and how to say what you are feeling?

Take a moment and think about that, think about your pain and internal struggle with societies hollow laws. Let me ease your mind and tell you that you are not alone, you were never alone, in fact I invite you to join me, I invite you to scream with me and fight for what everyone wants, fight for love. However, this time we will do things differently, because if we fight love with destruction we will lose before we have started. This time we will fight love with love. Join me to face society in the face and scream that their narrow understanding of what they call unconditional love doesn’t have rules on who to love unconditionally.

Being vulnerable is never easy, but here I’m opening my wounds, my pain, and my struggles. An open book as they say. I didn’t choose who to love, as much as I didn’t choose what gender I was born. I love being a woman, and my heart also fell for one. How is that wrong? How is that societies know what is wrong and what is right for me? I could only think of one reason, is that they never felt what real love is. Therefore, I decided to show it to them. I invite you again, and together we will fight love with love.

M. | FUA-AUF Career Photography

 

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Rubén Pagán-Ramos

Throughout a Day

Rubén Pagán-Ramos

FUA-AUF Photography Student

My series, “Throughout a Day” explores the world that we live in through the lens ofphotography and art across the span of a fictitious day, from an early sunny day, to an eerie streetat night. The environments are as alive as the people that are pictured in two of the images. Thetechniques explored are combinations of documentary and long exposure photography. Thiscombination allows for the story of a day to be formed, especially with the long exposures.The work I created spans over an evolution from early exploration of long exposurephotography which tended to always be at night, to more recently developing into day timeimagery as well. Some of my early night work is shown in the preceding image edits with moreimages. My night photography really began in high school when I used a lot of artificial lights toset my scenes, often using bright colors to create something more ethereal. They have taken theroute towards becoming more realistic, documentary images as they are now, rather than forgingsomething more fictitious as I used to. I became more recently inspired to switch and capture theworld through the lens of daytime because it really differs from night in terms of mood, eventsand people depicted. Daytime images required me to let go of some control that I always seem towant to hold on to through the precise process of long exposure, night photography. I washesitant to relinquish this control at first until I actually let go and did it, and I turned out creatingsome of my favorite images to date. This project serves to combine these two modes of imageryand have them compliment each other in a cohesive way, hence the documentary-like coveragefrom day to night.My work fits into an exhibition, purely as documentary landscape images as previouslymentioned. I picture the images being printed large, at least 16×20, to emphasize their beauty andto act as windows that viewers can peer out of towards this formulated, 24 hour range. The firstimage displayed closest to the entrance of the gallery would be the “Serene Hill” which depictswhat is said in the daytime and the last of the 10 images would be “No Longer With Us”,displaying an eerie night scene on a lone street. This way, when the viewers are exiting thegallery, they will pass by the images again in reverse order and glance at them again from adifferent perspective, as if it were nighttime becoming the next early morning and they wouldsubconsciously have in their mind that they’re entering their reality again from a freshperspective after viewing several series of artwork.My inspirations for the images come from my own process of creating this work overtime and how I shifted from one mood to the other solely through the process of subconsciouslycreating this, which in hindsight is the reason for it being what it is now. Before I even picked upa camera, I was the type of kid that would participate in most of his mischievous activities atnight with friends; I was always very comfortable in this setting and it kickstarted my work inthat environment in which I always found myself in. The work I created spans over an evolutionfrom early exploration of long exposure photography which tended to always be at night, to morerecently developing into day time imagery as well.

Rubén Pagán-Ramos| FUA-AUF Photography Student

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Amanda Burton

The show

Amanda Burton

FUA-AUF Photography Student

This is about a venerable moment in a common space. Each image is carefully curated to seem as if the model has taken control of her area because of her power and exposed self towards the camera. These strong women portray their confidence in myself as the photographer, and the way they are shown on camera. Many local people have been to these locations hundreds of times a day, but allowing to create ones own space in a public setting is very special.
This body of work are a various group of images taken from east and west coasts. The relationship between my love for both places are shown in the dedication and time put into the execution of each image. The paring of images are based on the setting and shot. I want to show the viewer the image at its full but also its most detail. The woman who star in my works are friends who I have made on the internet. Some I met for the first time on set and some are life long friends.
Colors and props are very prominent in these images because of how I want the viewer to feel. I purposefully have the dressing compliment the tones of the background so the model stands out in the foreground. Props are used to show the fun and flirtatious side of the images as well. It adds an element that many viewers did not know it needed until it was there.
My work for the past year has used a combination of revealing aspects and aesthetics hope to make an impact on the viewer. In the current state where many people believe this path has no relevance, I find myself returning back to the root where I found my niche in the first place. The context of the work with its location, style, and modeling, impact on the relationship as a whole.
My work ranges from all over the world. I find the props I use to emphasize the location and make it look natural. The angles of each image depend on what I am trying to tell in the whole picture. A wider shot to convey the scene, while a tight to show detail and precision. I focus on what is pleasing to the viewer in colors. My tones are very soft and vintage like. It transports the viewer into a realm in my eyes. There is movement in my images where the viewer can feel as if they could picture the behind the scenes themselves. My imagination runs wild as I wander through this lifetime looking at everyday places as if I could turn it into a place for my own creativity.

Amanda Burton | FUA-AUF Photography Student

 

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Anh Nguyen

Anh Nguyen

Flower Walk

FUA-AUF Career Photography

Flower Walk is a series of double exposures taken on expired film. The techniques are not special, and I didn’t arrange anything in the frame, and as the final image, I want to choose the square format for present it, to cut out the unnecessary outside the frames, and focus on the Flower itself – which is the main topic in this work. 

I have one semester in the past to learn about flowers anatomy, which was the part of my environmental studies program, and I always wander can they understand my speech? I have spent too many times to talk with those flowers when I was living alone, like real conversation, but they are not like animals, they cannot reply to me, and it is keeping inside my mind for so long about can they understand me? Do they want to talk back to me, but they cannot? Those kinds of questions make me wonder and wonder more about how the flowers react with this world, are they only blooming as that is the only reasons they live? How about those flowers that cannot bloom? Over and over those years, it quite makes me believe on the soul of the flower, as I perhaps believe on flowers have their own soul, like us. And I want to do one project for just express on what I think about those flowers.

            As a traveler, I mostly travel alone, explore the world outside by myself and as too many times I went around, I wonder how is it when you cannot move? I always see flowers and trees in many photos I took before, but they can’t move themselves. They are fixed in one location as we put them in, or they grew up themselves in that place. In my opinion, it is the sad life that they cannot see the world outside by themselves. Their views for their entire life are fixed in one frame, one view, literally they don’t have another view or another options, maybe their views are shaken by the wind, and then that’s it, nothing more. One time, I travelled with my film camera, and one expired film roll; and then I decided to invite those flowers I saw to join the journey with me. I want to have someone to explore my travel with me, remember where I have been through, and how things were around when I was there. I chose those flower in the botanic garden, as that was the time their blooming colorfully. The first layer in this whole series is focusing on the flowers, can be either horizontal or vertical. Then the second layer as double exposure was the routes I have been travelled during that specific of time. This project perhaps works like my diary on the journey with my friend (in this case – flowers).

Anh Nguyen | FUA-AUF Career Photography

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Lorenzo Brini

Miro Zero

Lorenzo Brini

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Opening: Thursday, September 3, from 6:30pm
 Miro Zero
Lorenzo Brini

Accompagnamento musicale:
String trio Water Music – Suite – G. F. Haendel 

In a dreamlike world imagined by Lorenzo Brini, tiny anthropomorphic figures create new ideas that sustain nature and the environment. The characters invent zero-impact tools that foster self-sustainability within their delicate ecosystem, the territory itself supplies the necessary resources for production and social systems without compromising systemic resilience – miro zero, aiming for zero.

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Giovedì 3 Settembre 2020, ore 18:30
Vernissage mostra
  
Miro Zero

Lorenzo Brini

Accompagnamento musicale:
String trio Water Music – Suite – G. F. Haendel 

Nel mondo onirico frutto dell’immaginazione di Lorenzo Brini, piccoli personaggi antropomorfi creano nuove idee a sostegno della natura, inventano strumenti a zero impatto ambientale, favoriscono l’autosostenibilità del delicato ecosistema che li ospita, il territorio stesso fornisce le risorse necessarie al sistema produttivo e sociale senza comprometterne la resilienza, mirando a zero.

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David Weiss

Iconic Florence

Metalli preziosi, sostenibilità e territorio

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DAVID ANDRE WEISS

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[:en]I have always been attracted to what happens behind the curtain, where things come from, and “the hidden.” The camera is a tool for me to explore my curiosities, myths, childhood desires, and wishes. It can be a complicated visual process or something as seemingly-simple, as making portraits.

These are photographs of Florentine artisans. Not the typical inner-city artisans that are sought by tourists, driven by the Siren Song of the Instagram feed. Those artisans work in shops in small side streets that tourists safari into, hoping to catch a glimpse of “real” artisans working at their craft. Those interactions change the relationship between artisan and art, and between craft and consumer.

The artisans in these images aren’t working in the city center. They are found somewhere just outside the center. In this sense they are pure, untouched by the desire that someone will walk in and discover them. This is no back-lot film set designed to create the illusion of authenticity. Pampaloni and the workers are authentic. They are the real deal. They work in precious metal, create works of subtle beauty from a process that is anything but delicate. Fire, machining, ancient, roughly-hewn techniques bring about objects of refined and polished loveliness. The portraits are of the men who combine both labor and aesthetic, every day.

From pre-production to the final product of silver objects, silverware, goblets, candelabras, to awards/trophies made for the Oscars, there is always a touch, or better, a sense of whimsey or jest in their work. Even in the operation of their restaurant (yes, they also run a fine-dining restaurant at the same location), there is that game-play of Pampaloni art.

My approach to making these images was to be as formal as possible reverting back to images made by August Sandler in his portfolio, People of the 20th Century, but without claiming to represent “photographic neutrality,” which, as Susan Sontag rightly indicated, is pseudoscientific at best. Instead, I wanted to ensure that the point of view of the subject was communicated as clearly as possible, through Sandler’s idea of “exact photography” without retouching or any other manipulations of the images so that the viewer could ‘read’ the portraits as easily as possible.  In so doing, I decided to make these images using positive film and a large format camera. The process took me personally back to when an image was made at the moment the shutter was released.  E6 film doesn’t allow for any mistakes in exposure, and the large format camera does not allow an image to be made using methods of last-minute improvisation. There is no post-processing. Everything is done with intent as the shutter is pressed.

David Andrè Weiss

[:it]Sono sempre stato attratto da quello che accade dietro le quinte, da dove provengono gli oggetti, e la “parte nascosta”. La macchina fotografica è per me uno strumento per esplorare le mie curiosità, I miei miti, i desideri da bambino. Può essere un processo visivo complicato o qualcosa di apparentemente semplice, come fare ritratti.

 Queste sono delle foto di Artigiani Fiorentini. Non I tipici artigiani del centro che sono cercati dai turisti, guidati dal suono delle Sirene alimentato da Instagram. Quegli artigiani lavorano in negozi in stradine strette che I turisti attraversano come in un safari, sperando di catturare uno scorcio di un “vero” artigiano al lavoro nel suo mestiere. Quelle interazioni modificano la relazione tra artigiano ed arte e tra mestiere e consumatore.

 Gli artigiani di queste immagini non lavorano nel centro della città. Loro si trovano da qualche parte appena fuori del centro. In questo senso loro sono puri, non attratti dal desiderio che qualcuno andrà a scoprirli.

Questo non è un retroscena di un film pensato per creare l’illusione di autenticità. Pampaloni e gli operai sono autentici. Loro sono il vero affare. Loro lavorano con metalli preziosi, realizzano oggetti di una sottile bellezza da un processo che è tutto tranne che delicato. 

Fuoco, lavorazioni, antiche tecniche di sbozzatura utilizzate per creare oggetti di raffinata bellezza.

Sono ritratti di uomini che uniscono lavoro ed estetica, ogni giorno.

Dalla pre-produzione al prodotto finale di oggetti d’argento, argenteria, calici, candelabri, ai premi / trofei realizzati per gli Oscar, c’è sempre un tocco, o meglio, un senso di capriccio o scherzo nel loro lavoro. Anche nel funzionamento del loro ristorante (sì, gestiscono anche un raffinato ristorante nello stesso luogo), c’è quel gioco dell’arte di Pampaloni. 

Il mio approccio alla realizzazione di queste immagini è stato quello di essere il più formale possibile ritornando alle immagini realizzate da August Sandler nel suo portfolio, People of the 20th Century, ma senza pretendere di rappresentare la “neutralità fotografica”, che, come ha giustamente indicato Susan Sontag, è pseudoscientifico nella migliore delle ipotesi.

Ho voluto invece assicurarmi che il punto di vista del soggetto fosse comunicato il più chiaramente possibile, attraverso l’idea di Sandler di “fotografia esatta” senza ritocchi o altre manipolazioni delle immagini in modo che lo spettatore potesse ‘leggere’ i ritratti con la massima facilità possibile.  

Così facendo, ho deciso di realizzare queste immagini utilizzando una pellicola positiva e una fotocamera di grande formato. Il processo mi ha riportato personalmente al momento in cui è stata scattata un’immagine nel momento in cui l’otturatore è stato rilasciato.

 La pellicola E6 non consente errori di esposizione e la fotocamera di grande formato non consente di realizzare un’immagine utilizzando metodi di improvvisazione dell’ultimo minuto. Non c’è post-elaborazione.

Tutto è fatto con intenzione mentre si preme l’otturatore.

David Andrè Weiss

 

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[:en]Andrea Mancini[:it] Andrea Mancini[:]

ENTROPIA

(Tutto va come deve andare)

ANDREA MANCINI

Entropia (Tutto va come deve andare)

Mostra di Andrea Mancini

 

L’acquerello, o l’imprevedibilità della perfezione.

L’acquerello, nelle arti visive tradizionali, è la tecnica più sottovalutata e difficile che ci sia. Sottovalutata sin da bambini, quando regali la confezione con le pastiglie colorate e il pennellino, sottovalutata soprattutto da quei critici e galleristi che per un antico pregiudizio storico ritengono Oli, Acrilici, Alchidici, un migliore e più sicuro investimento in arte.

Difficile, perché come in nessuna altra tecnica l’acquerello richiede all’artista di mettersi a disposizione totale della imprevedibilità, dell’autonomia che questa tecnica richiede per dare il meglio di sé, per aspirare alla perfezione.

Non avrai mai due sfumature uguali, non sai mai dove e come sarà “la macchia” asciugando sulla carta… In altre parole l’acquerello non lo puoi controllare e devi imparare a lasciarti sorprendere dalla sua magia prima di dominarlo. Chi lo ha usato anche solo per diletto sa quanto questa proprietà spaventi e risulti frustrante al principiante come all’artista più consumato.
L’acquerello, per me, è la tecnica della leggerezza. Sin dai primi approcci l’ho sentito in sintonia con la mia maniera veloce e d’impressione, spesso volutamente non-finita. Forse per questo l’ho sempre preferito. Per l’immediatezza di espressione per raccontare un’emozione o per fermare l’attimo alla stessa velocità del pensiero. Con l’acquerello ho illustrato alcuni momenti del mio percorso artistico come fossero appunti scritti di getto. Talvolta sono stati frutto di mirati studi preliminari per arrivare a “quel” gesto, puro, estetico e sintetico (è il caso degli acquerelli creati per la moda o alle serie dei cantieri e degli accumuli). Ma la maggior parte di queste carte sono più spesso pezzi unici, non ripetuti, non studiati, quasi nel rispetto di un “ora e subito” che rendesse in un colpo solo l’estasi visionaria di un’immagine senza tanti filtri ma così, come mi veniva. Alla prima. Perché l’acquerello non ti consente pentimenti, e io – di lui – non mi sono mai pentito.
Queste tavole che vi presento sono come le pagine del mio diario, ognuna legata a momenti importanti della mia carriera, ad incontri e svolte professionali della mia vita che ne hanno tracciato il percorso con la stessa imprevedibilità e lo straordinario effetto a sorpresa di un pigmento sciolto in acqua.

 

Andrea Mancini
Andrea Mancini, è un illustratore e artista digitale. Diplomato in Grafica pubblicitaria e fotografia all’Istituto Statale d’arte di Firenze con un maestro dell’illustrazione italiana come Leonardo Mattioli, ha esordito sul “Sergente Kirk” dell’editore Ivaldi di Genova, su “Circus” per l’editore Glenat di Parigi, su “Frigidaire” e “Tempi Supplementari” (Primo Carnera Editore), e per diversi giornali della sua città come La Nazione Il Corriere e il Brivido Sportivo.

Nella sua operosa carriera di illustratore pubblicitario ha lavorato per clienti come Piaggio, ENI, FIAT, Barilla, National Geographic, Giunti Gruppo Editoriale, Menarini, Ricard, Absolut Vodka, Ferragamo, Lardini Filottrano.

Ha esposto le sue opere in numerose mostre personali in Italia e all’estero (L’ultima mostra nel 2019 a New York nello spazio 632 on Hudson).

Dal 2012 realizza i suoi acquerelli per lo stilista Massimo Alba e crea i digital paintings per le promo video animate di Mediaset (Italia Uno Freedom). Andrea Mancini è oggi un formatore e trainer professionale di artisti digitali (Wacom) e un educatore e divulgatore di anatomia artistica e tecniche tradizionali in scuole, accademie e già dal 2018, di workshop e corsi online.

 

Palazzo Villani Stiozzi Ridolfi/Cafaggio del Vescovo

Via Ricasoli 21 Firenze

Lunedì – Sabato 8:30-21:30

Mind Garden: Sustainability & Environment

Mind Garden

Sustainability & Environment

FUA-AUF Final Student Exhibit

This virtual exhibit entitled “Mind Garden” is more than a showcase of the student work from this semester. It’s a beautiful representation of how each student followed their dream to come to Florence to study, learn, and express themselves.  I am reminded of the quote from Aristotle, “Whatsoever that be within us that feels, thinks, desires, and animates, is something celestial, divine, and, consequently, imperishable.” Mind Garden as a theme embodies the power of thought and a space where the seeds of ideas are sown. As ideas, concepts, and identities take root in individuals, a window of opportunity widens for rebuilding communities worldwide despite the uncertainty of current terrains. The creativity in each featured work is the result of how each our students cultivated their self-expression in unchartered places, many far from their home countries and all within the challenges brought on by 2020.

I would like to thank Fall 2020 students, faculty member, and staff for their commitment to learning and discovery, for believing in this semester’s journey of knowledge and experience in Florence. It will be an unforgettable term, and the visual documentation generated by the exhibit’s results will provide an ongoing source of reflection in the years to come.

David Weiss
FUA-AUF Staff, Digital Imaging and Visual Arts Coordinator

________

 

The art of gardening art

The words of culture are the words of cultivation: the Latin verb colo is a shared root for both the words “cultivation” and “culture”. A cultivated person is a person who cultivates culture all life long.

Prepare the soil, nurture and keep it moistened, select your seeds – some are traditional, some are recovered form forgotten traditions, some others get introduced as experiments –, shelter the seeds to allow their hidden work in the dark to unfold, pray for sun and water, keep your garden clean and safe, foster the right ecosystem to take place for a respectful as well as fruitful growing, spot the first soft green tones to appear – every time a surprise, fear for a sudden storm to ravage everything, wear a hat when light and warmth bring fruits to their glory and enjoy for a moment your own reverence in front of life unfolding. 

The art of gardening art shows the same pace and traditional knowledge: seeds make their way into the dark soil of learning, through a humble and silent process of getting nurtured and protected for a long time before daring to dot the world with forms and colors. 

Semester after semester, I have the privilege to witness all this happening in the minds and hearts of my art students, all the more in foundation art courses, like the ones I have taught this Fall 2020. 

Students are naturally aware of this analogy between cultivating art and gardening: their works and statements stress both the conceptual link between the two, as well as the sensual pleasures of growing while learning and accepting the process of it, with the aim of offering fruits to the world, in a circular movement that will nurture and give life to more art in the future. 

For moments, days, sometimes weeks, students have experienced the hopelessness that always tempts artists and gardeners. But they have also experienced that, eventually, fruits will grow, harvest will come, others will share their works. 

I saw surprise, even awe in the eyes of many of my beginner students, who could not believe that hard work, passion, commitment, and time had brought fruits. And they were right, indeed, as gardeners and artists know that the crucial ingredient to cultivate the world is faith. 

This is the sweeter fruit in the garden of art.

Professor: Nicoletta Salomon

Courses involved: Florence Sketchbook, Intro to Art Therapy, Foundation Painting, Words, Painting and Emotions: the mind map of creativity

 

___

 

Metaphors referring to the botanical universe are those most rooted in the depths of the human psyche. Even today in everyday language there are references to trees, forest seasons, gardens. A forest of symbols, the roots of thought, cultivating passions are all linguistic expressions that derive from the deep bond between man and the world of plants. In an attempt to describe the creative process using this universe of analogies, I am reminded of the words of the artist Joan Mirò “I work as a gardener. Things mature slowly. My vocabulary of forms, for example, I didn’t find out in one fell swoop. It was created almost in spite of me. Things follow their natural course. They grow, they mature. You have to prune. You have to irrigate…”
 

Professor: Paride Moretti

Florence Sketchbook

Aleksandra Tsangarides
Hinsdale, Massachusetts
Endicott College
6in x 8.5in
Pen on paper
Untitled

This piece was created through the act of subconscious “doodling,” something that I often do to recollect my thoughts and to gain control over my mind and body. The act of drawing with a pen in this way brings me to a sort of meditative state. There is no preliminary

 

Mackenzie Zorn
Carlsbad, California
Independent Student
“Perfect Piazza Navona” 
21×29,7cm
Pen and ink on A4 paper

A quick sketch made while sitting in Piazza Navona, Roma.

Aleksandra Tsangarides
Hinsdale, Massachusetts
Endicott College
size A4 
Pen on paper
Piazza della Repubblica

Letizia Guidine Costa
size A4 
Pen and pencil on paper

The mind garden should blossom good feelings and good intentions. If people’s’ mind flourishes the good, the world will also be a garden, full of goodness.

Mariyam Manal Mushtag
Colombo, Sri Lanka
“Water Me”- 9.5x8cm, Pen

The sketch outline how nature and humans grow co-dependently, and how one is vital to the survival of the other. It also explores the sense that all living things need the same things to prosper, like water, nutrition etc. We are all essentially one and the same. We “root” through life a similar way as our plant counterparts and simplistically saying, all we need is love and care to blossom.

Foundation Painting

Aleksandra Tsangarides
Hinsdale, Massachusetts
Endicott College
12 in x 13 in
Acrylic on canvas
Untitled

Created through a balance between choice and chance, this piece explores the idea of perception. In his book A New Earth, author Eckhart Tolle claims that there is a “deep interrelatedness between your state of consciousness and external reality.” What grows in your mind is what cultivates in your world; what you believe is what you see.

Karolina Serejute
Mixed media / Collage on Watercolor Paper 26x36cm

“Treasures of Nature are Temporary.”

The common desire of a person is to draw from nature without considering the importance of giving back. The most common human way of living and expanding disrupts every sphere of nature and distorts the world. Now the density of cities and the noice of the people within overflows the space in which other beings did once dwell and thrive. Humanity renders the beings which once reigned over the earth silent.

Morgan Relyea
Ballston Spa, New York
Endicott College
“Slow Growing Progress”
21 x 29.7 cm
Watercolor and acrylics

I created a very layered piece, focusing on texture, color play and transparency. I painted layers of flowers on top of each other to show how ideas are built upon and built upon until change occurs. I increased the saturation of the colors and the thickness of the paint no each layer to create depth.

Introduction To Art Therapy

Lucy Joy L. Bianchi
Ink and Watercolor on Paper
Dimensions: 22cm x 28cm
Denver, Colorado
Colorado Christian University
Psychology student with minors in English and Art

“Synthesis”
A Reflection on Blossoming as a Result of Art Therapy

To feel or think is to see but to feel and think is to understand. I yearn to touch my hands to paper and clay in such a way that whatever I create calls my mind and my soul together in a quiet symphony of synapses and breath. I yearn to be not fragments but one… and, in these moments, I am.

Michaela Ellison
Cumberland, Maine, USA. Endicott College.
“When the Great Creator Grows”
Watercolors & Markers

When crafting my work, I like to reflect in my mind what emotions or feelings I may be experiencing. With the concept of the Mind Garden and thinking of the question “Do you even grow anything in the garden of your mind?”, it allowed me to express emotions from within. The possibilities of creating are endless, and there is no limit to what can be done. Now more than ever, art is the center of my world. It has been my outlet during stressful times, but also has been a source when things are going well.

Words, Painting, & Emotions

Aleksandra Tsangarides
Hinsdale, Massachusetts
Endicott College
12in x 13in
Acrylic on canvas
Untitled

I created this piece as I sat in a state of contradiction; cross-legged on the cold, tile floor, while the
warmth radiating from the heater flowed onto my back. The development of this piece sprouted from my awareness of these two opposing feelings on the top and lower parts of my body, loose and comforting vs. sharp and unforgiving. This visual representation of awareness, of the senses, had directly sprouted and developed from a form of consciousness planted deep in the mind.

Alyssa Kurland
Norton, Massachusetts
Endicott College
The Mind’s Eye
30cm x 40cm
Acrylic on Paper

The Mind’s Eye is a work created with limited acrylic palette on canvas. Through the combination of natural imagery and Zentangle patterns, I created a visual representation of how I experience the world around me as an artist. When creating art, I take inspiration from the
world around me. I take moments and emotions from my own life and internalize them, allowing them to grow and flourish as a concept inside my mind until I feel that I am ready to reintroduce them to the world around me as my own creations.

Samantha Kourtz
Berkley, Massachusetts
Endicott College
“Grow with the Flow”
30x40cm
Watercolors, graphite pencil, and acrylic paint on paper

While making this painting I was inspired by simplistic pen drawings of greenery and the shapes and forms that they made. I choose colors that are calming to me and make me think of nature. A mind garden is not always perfect because life isn’t perfect, we grow and learn from all types of experiences. This painting represents to me growth through experience and the state of learning to accept the process

Arianna Rubio
Monroe, New York
Endicott College
Flowing Beauty
12” x 15 ¾”
Acrylic Paint and Sharpie Marker

This artwork was created by using acrylic paint and black markers. I always love the uncontrollable factor of placing water on paper then adding paint to it, creating a scene of colors with different amounts of dilution. When I think of “Mind Garden,” I think it is unique and personal to every single person but it is the beauty of all our thoughts and ideas swirling around in our minds to eventually be flowing out of us in a creative way. You nurture your ideas and practice patience when discovering what it is you want to create like a literal garden.

Mixed Media

Anel Tulegenova
DOS Education
Title: The boomerang Principle
Two pieces 50cmx70cm Oil And acrili on canvans
Mixed Media


The diptych personifies the relationship of man to Mother Nature. The most important thing in this composition is our biological instrument – hands, which are a means of expressing feelings and actions. Two birds are a reflection of our beautiful world and at the same time personify the Boomerang Principle in my paintings. We have to take care of nature, and she will take care of us.

Group Project Mixed Media Class
“Map Your Paradise”
England Caleb, Harris Demi, Serejute Karolina, Tonetto Anna Giulia, Tulegenova Anel, Okwuowulu Mary Lucy.
Tecniques: Maps, watercolors, pen

What is a map? How does the representation of geographical space coincide with the real aspects of the territory?  Why do some cartographic boundaries have geometric shapes while others follow the natural designs of rivers or mountains? What is a geopolitical boundary and how does this limit affect the interactions between the peoples it separates?  

This experimental group work starts from the appropriation and recycling of old maps of sub-Saharan Africa. Students were asked to put an ideal garden project back on the map. From the overlapping of the poetic and utopian gesture to topographic geographies emerge questions and reflections on the interconnections between man and geophysical space.

Paride Moretti

Caleb England
“IL Mio Vero Fratello”
oil on wood panel, 34cm W x 47cm H
Mixed Media
Prof. Paride Moretti

Inspired by an event from my own life of a friend saving my life in the summer of 2019 after a suicide attempt. Though we may seek to cultivate the mind garden to flourish and blossom, there may remain untended areas which can spread disease and rot to other plants. I was in the military with the man pictured with me, we have spent many events in extreme danger together.

Sculpture & Ceramics

Demi Harris
“Back to our Roots”
Clay 45cm
Foundation SculptureProf. Paride Moretti

I took inspiration from primitive and African sculptures, which lead me to the sculpture work of Amedeo Modigliani. After researching these works of art, I was drawn to the abstract representation of a face and how it could captivate so much emotion in something quite simple. For my sculpture, keeping the theme of mind-garden in the back of my head, I wanted to create something that would directly connect with nature by holding the earth/plants (aka a vase). As I began working I wanted the face to look as if it was thinking, held by its hand in symbolism to the power of thought. I created this piece to be a show piece, inviting the audience to think for themselves about the footprint they live on this earth and how desperately we must get “back to our roots” to save this magnificent planet we call home.

Anel Tulegenova
DOS Education
Title: Peace of Mind
Clay
Foundation Sculpture
Prof. Paride Moretti


The sculpture represents calmness and an inner state of confidence. A kind and wise look conveys great spirituality and harmony. This universal harmony unites all things together so as to make one, which helps us to find mental and psychological balance. Facial features and expressions reflect a positive attitude towards all living things and beauty. A person who is spiritually rich always tries to bring love and a proper understanding of his life.

Anel Tulegenova
DOS education
Title: Father of the Forest
Ceramic Beginner
Prof. Paride Moretti

The Green Man represents the spirit of nature in the form of man. Since ancient times, people believed that human beings are directly related to the fate of nature. The Green Man mutely reminds us that we forget. This unusual personification of sort of forest god combines a love for flora and fauna that is inherent in the human mind.

eL in digital Photography

1 year

eL in digital Photography

2 year

Ornella Fanciulli
Full Time Student 3rd Year
Visual Communications
“The Journey”
Medium Format Black and White Film
A4 Canson Photographique

While seasons come and go in their stable cycles a person’s journey is always filled with ups and downs and that is what ‘The Journey’ is all about. The phases that most of us go through like experiencing many pains, struggles, and trials. A quote from K.M. Golland ‘Life is full of ups and downs, twists and turns, love and loss. And life would not be worth experiencing if it weren’t just that. You can’t have the good without the bad, you need to somehow learn to accept the bad and adjust it in a way that you can endure and overcome’. All of this is portrayed through a pair of shoes.

The shoes you wear, like fashion and beauty products, may tell something about who you are as a person. Not only does your favorite footwear allude to your everyday mood, it is a sartorial icon often bundled with hints about your tastes and hobbies. After all, shoes are armour, in which we can protect our feet and the foundation needed to take on everything the day can throw our way, whether it’s a
torrential downpour or climbing stairs.

By removing the “human element” from my portraits, I was forced to show visual emotions via the details of the locations and the scenarios that the pair of shoes were placed in. My goal was to abandon the typical semiotics way of reading portraits and allow the viewer to come to a conclusion of what was happening to the pair of shoes simply by the way the image was photographed and where.

The decision to shoot in black and white film is because film has a timeless consistency to it. It can be striking, engaging, breathtaking, and certainly moody. Film eliminates any color distraction enabling the viewer to concentrate on other aspects of the picture, such as the subject, the textures, patterns and shapes, as well as the composition with no color interference. Psychologically, something about the variation in tonal ranges, rich blacks, and intense contrasts are appealing to all of us. It establishes a connection that causes you to stop and pay attention to what is being addressed.

Intermediate Interior Design

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Lighting Design

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Possible City

The Possible City

Sustainability & Environment

FUA-AUF Final Student Exhibit

The Spring 2021 Final Exhibit featuring the works of digital media and fine arts students of FUA-AUF represents the individual search for positioning one’s self in an imaginary space. From the perspective of “The Possibile City” theme, the current pandemic leads us to re-imagine who we are as individuals inhabiting a space. The body of work presented at this exhibit is a series of personal explorations of the intersections between self, possibility, and space. Self-exploration is examined as one of the many forms of discovering one’s possibility and imbuing it with a new meaning through shapes, forms, words, and semiotics. As individuals positioned within the city of Florence, the idea of the possible city materializes through the student visions, intensely personal yet choral in their shared experience and experimentation of the represented media.

Introduction To Art Therapy

Demi Harris
Boise, Idaho USA
Boise State University
Title: “Soul Child”
Dimensions: 23x 30 cm
Medium: Watercolors, Print of my photography, Markers, and Pen

The war of words that takes place in my head, this is a battle between the positive and negative.  Painting my fears on a page and letting my words devour them, clears my mind and takes care of my soul child. I begin by slowly scraping the surface and the more layers I add the deeper I dive into my inner thoughts and feelings. I take notice of the soft yellow voice in my head uplifting, encouraging, and caring for my soul child under the louder opinions. This is my chaotic mind mess on a page.

Karolina Serejute,
“Cities are people”
oil pastels, black permanent marker on Acrylic paper 21 x 29,7 cm.
FSE, 2021 Spring, Introduction to Art Therapy course, FUA.

Cities are often overcrowded with the abundance of people, their hustle and bustle, their activities, that is social life. In the face of a pandemic, people changed, some found joy in small things while others closed or even plunged into depression. What the face of the city will be after these trials will depend on each of us and our reaction to them.

 

Demi Harris
Boise, Idaho USA
Boise State University
Title: “Remaining Ruins”
Dimensions: 23x 30 cm
Medium: Watercolors, burned journal pages, and pen

Nostalgic thoughts filled my mind as I wrote down my feelings on a bus ride through the once new and bright city. The deserted streets feel emptier seeing that the people I love and care for no longer walk its cobblestone roads. Since they have gone the city feels grey and bare. The beauty remains but now the colors have faded and it’s magic has burned away.  

Mabel Stevens
University of Massachusetts at Amherst, Intro to Art Therapy, Rope, 17 centimeters, pencil sketch

While in Florence I have been able to detach from my normal life and experiment with different experiences, places, and people. Unfortunately, that has led me to get COVID and land myself in an over twenty-day quarantine. Once I am released, I will be able to continue my involvement in my study abroad program until my final days, then I will be going back to my normal life back in the states.

Caleb England
“Room With a View”
36x26cm, Oil on paper

Foundation Painting

Alexandra Hieks
William & Mary
Ghosts of the New Normal
Oil on Oil Pad 28 x 33 cm

This piece reflects on how accustomed the world has become in the past year of the “new normal” of the global pandemic, including normalized everyday aspects of temperature cheak’s, Covid-19 testing, social distancing, and masks. In the post-pandemic future, these aspects will gradually fade away to only be uncomfortable memories. 

Haley Wagoner
University of South Carolina; Foundation Painting; The Unforeseen City; Oil Paint with Blending Technique; 12×16 cm.

The idea behind my painting is the uncertainty and unpredictability of the post-pandemic future. The gondolier is paddling toward a clouded city, hidden from a complete range of view. Ultimately, this portrays the unforeseen future and the inability to determine how our world and its cities will look in the years ahead.

Intermediate Drawing

Sienna Ellenberg
Kennesaw State University
“Admiration”
Pencil, watercolor, and white gel pen
9’’ x 10’’

I imagine that once Italy returns to its former state, the abundance of the art held here could be fully admired once again. In my piece, I have painted a young woman finally going to museum that had been formerly closed. She admires a painting that she can finally see with her own eyes for the first time.

Alexandra Hicks
William & Mary
Yesterday, Today & Tomorrow Graphite on Paper 23cm by 23cm
Intermediate Drawing

This piece reflects on the similarities of the 1918 Influenza pandemic to the current Covid-19 pandemic. The figure is shown giving a worried look towards the future, and the almost inevitable pandemic of tomorrow.

Florence Sketchbook

Anel Tulegenova
DOS education
A long-awaited event
14,8x21cm
Watercolor and ink

Two hugging figures represent the value of human communication, friendship and love. This work reflects the meeting of people after a long-term separation, when there was no opportunity to meet with loved ones and travel to other countries.

Alexandra Hicks
William & Mary
Exposure Brush pen and watercolor on paper 1
3cm by 18cm
Florence Sketchbook

This piece reflects on how the past year or so of trauma, uncertainty, and death is coming to an end through something as seemingly insignificant as a shot or two in the arm. Additionally, the work comments on how this vaccine brings about changes in social exposure that we have become no longer accustomed to.

Landscape & Architecture

Anna Mae Houston
Newschool, NY
“Religious Exploration”

Religion and God are two things that I have never been able to really connect with and understand. I was raised Catholic, going to catechism, masses and other church events. My younger brother and I struggled with what was truth, what was faith and what was science. At 15 we both decided against getting confirmed. I have been estranged from religion for about 6 years, but when coming to Florence I felt the relationship open back up just a bit, not necessarily for acceptance, but potentially to understand what others gain from the aspects that I have been missing all of these years. Religion and God are both tied into the cities history, architecture, culture and essence. No matter the religion or the belief, it is beautiful to see what has been built surrounding the light and worship over many years of rich spiritual history.

Caitlin Laliberte
Endicott – MA
Your Right of Way

In life every individual is actively making decisions that are for the future but reflect and affect the present from the past. A future ahead that is unseen but is slowly laying itself out before our eyes. And the present, which we are in now. Life is unpredictable and full of ups and downs. It tends to throw us curve balls and surprise us with things that end up not only challenging us but pushing us to discover new things about the world and ourselves. There will be construction, there will be difficult decisions, there will be a day when the leaves fall from the trees. Yet there will be a time when the flowers bloom and the leaves on the trees grow back. They key, I have found is perspective. To find the beauty in the imperfections and embrace them. Not everything needs to be fixed, as the change of path could lead to something great that someone might not have seen before.

DEMI HARRIS
Boise State University
Boise, Idaho USA

Surface

Straying away from the suspected images of architecture and landscape
photography, I’ve created the photographic series “Surface“ to showcase the unique
qualities of body scapes and the contrasting textures of architecture and nature to
the human body. Normally a portrait photographer, I decided to mix the two
mediums of photography as I showcase my processing skills in Adobe Photoshop.
My intention for the work was to create an image for viewers
to enjoy at first glance and think of its meaning beyond the surface. My hope is for
the viewer to connect with each image independently while framing their own
narrative with the sculptures. Having been my first body of work experimenting with
architecture, I grew more confident in the subject and was excited to combine my
love for portraiture with this project.

Advanced Videomaking and Post-Production

KRISTIC
Ornella Kristall Fanciulli
ACTORS: Harris Demi & Taylor Samuels

The commercial aims to showcase what a Possible City would look like. A world that is hands free. We will be able to display photographs, play videos, and use web browsers right in our line of vision in the future thanks to advanced contact lenses. Soon, we’ll be able to take pictures simply by blinking, see city maps appear in front of our eyes as we walk, and see previously blurry objects in the foreground come into focus.

Experiential Learning in Digital Photography

Demi Harris
Boise State University
Just a Phase 

This body of work represents a vulnerable time in my life when I opened up about my curiosities and sexual interests with people I cared about most, and was met with anger and disapproval. This spring, I began using the medium of photography to work through the feeling of shame and explore my sexual interests in a creative way. Just a Phase purposefully showcases the playfulness I had in exploring different settings, moving from indoor photoshoots (in studio, home, kitchen, bathroom) to outdoor photoshoots (on the streets of Florence), as well as, changing the format of my photography from film to digital. Originally inspired by the erotic photographer Robert Mapplethorpe, I mixed and blended inspiration from eccentric fasion photographers David LaChapelle and Helmut Newton. 

When openly sharing my sexual interests in women and bdsm (bondgage and discipline, domination and submission, sadism and masochism), I was constantly met with shameful statements such as; “You’ve always liked men, this is just a phase”, “Don’t be that girl that experiments with women in college”, “So now your lesbian or bisexual”, or “Your doing this for attention”. Feeling guilt from my families ideals and societal pressure to choose a name and box for my sexuality, Just a Phase is a confident showcase of my erotic interests, sexual playfulness, and internal emotional explorations to the outer world. The series was intentionally photographed in black and white to highlight the subject and objects in the photograph rather than distract the viewer with color. Each image is charged with erotisism and undertones of societal pressures on sex, marriage, gender and gender roles. This nonlinear work of images is not asking for approval from its audience, but instead each individual photo is meant to provoke the viewer into feeling something different, begging them to question their own narratives, perceptions or indifference towards the photographs. 

Taylor Samuels
Fishbowl
University of Vermont


My Life at Home series, titled “Fishbowl”, began as my photography project last fall during my Introduction to Digital Photography course. It started by being a documentation of my roommate, Carly, going on dates, and I soon realized that I enjoyed capturing these intimate moments. When Carly ran out of people that she wanted to go on dates with, I simply began documenting my roommates and friends in a more intimate way, things that an outside viewer would not normally see of someone they are not close to: getting ready for a night out, celebrating the holidays, eating meals. I like the way it feels to look at these images, and the sense of closeness and familiarity it emits. 

After living with Carly and my other roommate, Kaitlyn, for 6 months, we have created more than a friendship, rather a sort of sisterhood. The bond between women is certainly special and I see this more and more as I get older and my friendships, old and new, continue to strengthen. I wanted to continue capturing these intimate moments, but this time in a new and evolved way. During the 3 weeks that I had this course, I was taking 5 classes at once and was doing school work from the moment I woke up until the moment I went to sleep. Because of this, I considered concepts based in our home since I did not have many opportunities to go out and dive into a project that involved travel to a further location or multiple locations. Another factor that I considered is how I am always taking photos and videos on my iPhone to document my life, but unless it is a silly selfie, I am not in the photos myself. I want to remember these moments, what I look like, how I feel, what I am doing, and how I interact with my environment and the others in it. After discovering all these aspects, I concluded that I will continue this series, while also inserting myself into the images using a tripod. 

This project means a lot to me. While more than half of the photos are posed, with the concepts previously decided, they are all representative of our little life together. Whether we are fighting, staying up late having deep talks on the terrace, cleaning, or getting glammed up just to take photos in the apartment, we are coinciding alongside each other. An important factor of this project is that we have been living through a global pandemic, not doing as much as we used to out in the world. This has made us evaluate our time inside, in efforts to make it as meaningful 

as our time outside. Kaitlyn, Carly, and I have done a pretty decent job of figuring things out while locked in a small apartment together for weeks at a time. I like to think that our relationship itself is what makes our time at home special, and worth capturing. 

Rory Torstensson
Independant
“מחפש תשובות” – Searching for Answers 
Black and White Film
Fine Art Canson Satin RC and Baryta Paper


Human beings are searching their whole life. People begin their life with searching for their mother’s voice. This is the only thing that brings comfort to most babies. This feels safe. When children grow and start to detach from their mothers side, they search for an object like stuffed animal, that brings them the same kind of comfort as their mothers voice. As some children get older, their families instill in them the ability to find their next stage of comfort in a religion. I have been brought up Jewish, and have learned about the stories from the Torah my whole life. As a child I went to temple every Saturday with my family and watched my mother with her peers praying, but from the start, I had questions. I didn’t understand why I couldn’t wear my favorite dress since it didn’t cover my shoulders, or why men and women were treated differently in the stories in the Torah and in my temple. When I asked my questions, I never received an answer that I felt completed my question. My curiosity became deeper as my siblings started to find comfort in our religion. During my time here in Florence, I’ve encountered multiple struggles. No one tells you in high school how to prepare for being on your own. After becoming connected to a synagogue in Florence, I attended a Shabbat dinner. Even though I don’t keep Shabbat anymore, I was welcomed with open arms. I found comfort in family.  This project has been a form exploration and questioning. I feel this project is a visual interpretation of life as a young Jewish teen brought up with orthodox education, questioning every piece of information handed to her. My brain is a rollercoaster of thoughts, wondering why I must be covered, and why I must follow the rules or else receive a punishment. It’s frustrating and confusing, but a journey I have only just begun. 

Introduction to fashion Photography

Kaitlyn Kantor
Fashion Design, Merchandising, and Media,
FUA-AUF

Danelia Rodriguez Santana
University of South Florida
Journalism and Media Studies

Margarita Matta
University of Pennsylvania
Undecided

Avery Barakett
Harvard University
English and Economic Studies

Emma Nyangwara
Endicott College
English

Iconic Florence

Madeline Wallace
Photography
Humber College

Emmanuel Samuel Prince
Creative Photography
Humber College

Almost Nothing by Nicoletta Salomon

Almost Nothing

by Nicoletta Salomon

Non c’è  separazione fra supporto e dipinto, è sparito il mio fondo bistro, non ci sono strati, la tavolozza è schiarita, sottile.

Il lino trasparente senza imprimitura riceve il colore assorbendone una parte: il dipinto è nella tela, non su di essa, è mondo non sua immagine. Il sostrato si fa sostanza, sinolo di forma e materia.

Ritornano il quadrato e una linea orizzontale, la frontalità prospettica delle icone, ma dentro ci sono aria e acqua.

Tutto si muove in una marea senza rumore.

‘Almost Nothing’ ha preso forma nel silenzio, con materiali scelti.

Un numero minimo di punti cuce su carta i frammenti di tela degli studi preparatori. 

Ho lavorato in casa, sola.

Nicoletta Salomon

nicolettasalomon.com

 

 

There is no separation between canvases and the paintings. My usual dark background has disappeared. There are no layers of colors, my palette has become subdued and light.

Colors soak into transparent unprimed linen: the painting is not on the canvas, it is in it, it is a whole world, not just its image. The substrate becomes substance, a synolon of form and matter.

The square and a horizontal line keep recurring, as well as a frontal perspective: air and water are in them. While everything floats, no sound is perceived.

‘Almost Nothing’ took shape in silence, with selected materials.

Fragments of my preparatory studies are sewn to paper with scattered stitches.

I have worked at home, in solitude.

Nicoletta Salomon

nicolettasalomon.com

#5, mixed media on canvas, cm. 90×90, 2020

#7, mixed media on canvas, cm. 100×100, 2020

#11 mixed media on canvas
cm. 40×60, 2020

#12, mixed media on canvas, cm. 60×80, 2020

#14, acrylic on paper, cm. 50×65, 2020

#15, mixed media on canvas, cm. 50×50, 2020

#16, acrylic on paper, cm. 50×65, 2020

#19, acrylic on paper, cm. 50×65, 2020

#19, mixed media on canvas, cm. 50×50, 2020

#16, acrylic on paper, cm. 50×65, 2020

#19, acrylic on paper, cm. 50×65, 2020

#19, mixed media on canvas, cm. 50×50, 2020

#20, mixed media on canvas, cm. 50×50, 2020

#24, mixed media on canvas, cm. 40×40, 2021

#26, acrylic on canvas sewn on paper, cm. 50×65, 2020

#27, acrylic on canvas, cm. 30×30, 2021

#28, acrylic on canvas sewn on paper, cm. 50×65, 2020

#29, acrylic on canvas, cm. 30×30, 2021

#30, acrylic on canvas sewn on paper, cm. 50×65, 2020

#33, acrylic on canvas sewn on paper, cm. 56×76, 2020

#34, acrylic on canvas sewn on paper, cm. 56×76, 2020

#34, acrylic on canvas sewn on paper, cm. 56×76, 2020

#41, acrylic on canvas, cm. 70×70, 2020

“Alberi”  Photographs by Marco Gualtieri

Alberi

Photographs by Marco Gualtieri

I felt stuck. Time was frozen. No one was around until I photographed the first three images. Alberi is a photographic series that is my perception of nature portraits during the past winter. I spent my time taking long walks in the surroundings of Florence and in its parks to break the monotony of the restrictions to our social life due to the pandemic. The observation of the overlooked landscape around me has always been at the center of my photographic research but for some reason I always seemed to point my camera lens at the urban environment and at nature itself. In this series I found a personal connection with trees. This connection developed into a fascinating visual journey where I discovered an infinite variety of imaginary characters living in the tree trunks. I discovered an enchanted forest as my work evolved. All photographs displayed at Corridoio Fiorentino were made with traditional black and white film and printed in a darkroom on photographic paper. 

BIO Marco Gualtieri is a landscape photographer based in Florence, Italy. He has a Master’s degree in Visual Arts from DAMS (Drama, Art, and Music Studies) University of Bologna, Italy; a Bachelor’s degree in Cinematography from the National Film School of Rome; a certificate in Documentary and Photojournalism from the International Center of Photography of New York. His work has been exhibited in the United States, where he has lived and worked for the past decade. Marco is currently based in Florence and collaborates with Florence University of the Arts as a photography instructor.

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[:en]“DISVELARSI”  Paintings by Michele Berlot[:it]“DISVELA?SI”  Paintings by Michele Berlot[:]

DISVELARSI

Paintings by Michele Berlot

DISVELAЯSI

Scegliere il titolo per una mostra personale è ancora più difficile che scegliere quello di un quadro che, già di per sé, è un’impresa ardua.

“Disvelarsi” però è stata la prima parola che mi è passata per la mente pensando ai miei quadri e al modo che ho di lavorare. È un processo che si sviluppa per sovrapposizione di colori, materiali e pensieri che, se non riesce a concludersi con quell’equilibrio formale ed estetico che cerco, termina togliendo, grattando, andando a cercare qualcosa che era già lì e che aspettava solo di essere trovato.

Il senso può anche essere quello di “mettersi a nudo”, arrivando a rivelare qualcosa di profondo che, a volte, è sconosciuto pure a me. Ed è qui che nascono i quadri con i titoli più significativi.

Nonostante questo però, proprio per i molteplici passaggi che caratterizzano ogni mia opera, il risultato finale non è solo l’ultima espressione di tutto il lavoro ma rimane un mondo sottostante nascosto, completamente da decifrare. Per questo il titolo della mostra, DISVELAЯSI, è un manifestarsi solo apparente che costringe lo sguardo più attento a coglierne il senso più profondo.

Dieci quadri, realizzati per rendere esplicita la ricerca di un linguaggio al confine tra l’informale e il figurativo: ogni tela racconta la propria storia, la mia, e spesso anche quella di chi osserva.

 

BIOGRAFIA

Architetto, classe ‘63. Nasco, vivo e lavoro a Firenze.

Non mi definisco “pittore”… Faccio “altro”.

Qualcosa che innanzitutto serve a me, una forma di espressività, tangibile, che ti impegna anima e corpo ma che riesce anche a darti quel senso che spesso cerchiamo inutilmente. Esprimo stati d’animo, che spesso si modificano nell’arco della realizzazione di un quadro e a quel punto, nascono i lavori migliori. Ecco, qua sono nel mio centro. 

Perché la pittura. Mi ci sono avvicinato con molto rispetto, provenendo da studi prettamente tecnici e avendo realizzato per anni grafica digitale. Ma la potenza di lavorare con le mani, sperimentare, fare e disfare, sovrapporre, incollare, sporcare, graffiare, annusare, godere e dispiacersi… tutto questo ho capito fin dal primo tentativo, che poteva arrivare solo in questo modo. 

La mia pittura può essere definita informale, ma è un informale sicuramente non gestuale; ha bisogno di una preparazione di fondo su cui poi lavorare, stendendo il colore in modo che non sia percepibile la pennellata.

E il meccanismo è lo stesso, sia quando i lavori comportano l’uso di carta e colla mescolata al colore sia quando lavoro in modo più canonico: attraverso numerosi passaggi e sovrapposizioni di materiali e colori, arrivo a quell’equilibrio formale che mi consente di considerare “chiusa” un’opera.

 

NOTE CRITICHE

“In brevissimo tempo Michele Berlot è riuscito a fissare una cifra stilistica tutta sua, non assimilabile ad altre esperienze, dando sfogo a questo suo innato senso del colore”

“Nelle sue opere il colore evoca una profondità che non è prospettica ma ottenuta attraverso la luminosità dello stesso”

“Il colore nella sua pittura ha sempre una qualità generativa. Le forme che vediamo, infatti, nascono dal colore stesso e mettono in moto le nostre qualità percettive, che ci guidano ad intravedere un qualcosa che noi già conosciamo. Passiamo così, in una continua evoluzione, da una dimensione fluida e liquida, dove tutto cambia, a una solida, che ricorda il ghiaccio e la pietra” (Note critiche di presentazione ad una mostra)

“Attualmente la sue ricerca si orienta sull’astrazione cromatica, ottenuta stratificando il colore sulla tela con venature che ne accentuano la profondità luminosa. L’ispirazione nasce spesso dalla natura per essere poi trasfigurata in chiave lirico-astratta” (Nota critico-biografica all’interno del CAM n° 53)

Daniela Pronestì, storica e critico d’arte, curatrice di eventi artistici

 

 

USCIRE DA QUEL VENTO… 
80×120, acrilico su tela, 2021

TORMENTO ED ESTASI, acrilico e smalto su tela, 2017

STARGATE, 80×80, tecnica mista su tela, 2020

SONO SOLO GRAFFI, 60×60, acrilico su tela, 2021

SIC MUNDUS CREATUS EST, 80×120, acrilico su tela, 2021

NELLA SVOLTA DEI TEMPI, 100×100, acrilico e olio su tela, 2020

NE’ VINCITORI NE’ VINTI, 60×60, tecnica mista su tela, 2019

LANDSCAPE, 100×100, tecnica mista su tela, 2020

IL TEMPO PERDUTO, 100x100, acrilico su tela, 2020

IL TEMPO PERDUTO, 100×100, acrilico su tela, 2020

CHAOS THEORY, 60×60, tecnica mista su tela, 2017

BURN, 90×90, acrilico su tela, 2021

ANIMA MUNDI, 110X160, tecnica mista su tela, 2019

ESPOSIZIONI:

  • gennaio 2012, Firenze, Palagio di Parte Guelfa, collettiva curata da Senzalimite Arte;
  • giugno 2013, Colle Val d’Elsa, “FLOATING”, personale nella galleria Senzalimite Arte, a cura di Angela Corsi;
  • agosto-settembre 2013, Anguillara Sabazia (Rm), II edizione di “E…STATE CON L’ARTE”, collettiva a cura dell’Associazione Culturale Artistica “I Colori per la Vita”;
  • 7 settembre 2013, Colle Val d’Elsa, sezione Street Art di “Libera Collarte 2013”, a cura della galleria “Senzalimite Arte”;
  • 30 ottobre / 10 novembre 2013, Castellammare di Stabia, “I Mostra d’Arte Internazionale di Selezione per la Biennale di Roma 2014”, rientrando tra i selezionati;
  • 21-28 marzo 2014, Chieti, Museo C. Barbella, “I Edizione del Simposio Internazionale di Arte Digitale”;
  • marzo/aprile 2014, Siena, Palazzo Sergardi, “CRIMEN. LESA REALTA’. Tre iperrealisti ed un architetto metropolitano attentano al quotidiano”, collettiva curata da Luca Lanfredini;
  • 26 aprile / 13 maggio 2014, Firenze, galleria Simultanea Spazi d’Arte, “UNEXPECTED WINDOWS”, collettiva a cura di Daniela Pronestì e Roberta Fiorini;
  • 29 maggio / 30 luglio 2014, Colle Val d’Elsa, collettiva nella galleria Senzalimite Arte, “CRIMEN. ARTATWORK”, a cura di Angela Corsi;
  • 10-30 luglio 2014, Firenze, collettiva nella galleria Merlino Bottega d’Arte, “ACTION. Dall’astrattismo all’informale nell’età contemporanea”;
  • 15-24 novembre 2014, Firenze, collettiva nella Limonaia di Villa Vogel, “ASTRATTISMO D’AUTUNNO. Mostra d’arte contemporanea”;
  • 19-29 gennaio 2015, Firenze, collettiva nella galleria Merlino Bottega d’Arte, “DECOSTRUZIONE FIGURATIVA”;
  • 31 gennaio / 10 febbraio 2015, Firenze, collettiva nella galleria Merlino Bottega d’Arte, “QUATTRO ELEMENTI”;
  • 14 febbraio – 3 marzo 2015, Firenze, collettiva nella galleria Mentana a cura di Artexpertise, “TRASCENDENZE CROMATICHE”;
  • 9-19 aprile 2015, Firenze, collettiva nella galleria Merlino Bottega d’Arte, “ACTION! Dall’astrattismo all’informale”;
  • 16-28 aprile 2015, Firenze, galleria Simultanea Spazi d’Arte, “NELLO SPAZIO E NEL TEMPO DI UN SOGNO”, collettiva a cura di Daniela Pronestì e Roberta Fiorini;
  • 12-22 maggio 2015, Firenze, collettiva nella galleria Merlino Bottega d’Arte, “BIANCO NERO MONOCROMIE”;
  • 3-16 luglio 2015, Torino, mostra internazionale collettiva di arti varie presso Villa Amoretti, “ARTE MODA E MUSICA” a cura di Nikolinka Nikolova;
  • 11-12 luglio 2015, Castello di Travo (Pc), mostra collettiva d’arte contemporanea, “IMPREVEDIBILE”, 5 artisti a confronto;
  • 18 maggio / 18 settembre 2015, Milano, selezionato al Concorso artistico “QUALITY CCUP EXPO 2015 – LE QUALITA’ DELLA CINA” ed esposto all’interno del Padiglione CCUP all’Expo di Milano 2015, a cura dell’Associazione Culturale Qualitaly e del China Corporate United Pavilion (menzione di merito e medaglia di bronzo);
  • 19-30 settembre 2015, Castellammare di Stabia, “II MOSTRA D’ARTE INTERNAZIONALE DI SELEZIONE PER LA BIENNALE DI ROMA 2016”;
  • 9-21 novembre 2015, Firenze, galleria Simultanea Spazi d’Arte, “ROSSO FISSO”, collettiva a cura di Daniela Pronestì e Roberta Fiorini;
  • 15 dicembre 2015 / 6 gennaio 2016, Firenze, galleria Simultanea Spazi d’Arte, “ARTISTI IN SIMULTANEA”, collettiva a cura di Daniela Pronestì e Roberta Fiorini;
  • 9-24 gennaio 2016, Reggio Emilia, Chiostri di San Domenico, “L’IMPREVEDIBILE ATTIMO QUOTIDIANO – Frammenti del presente già passato”, mostra di arte contemporanea;
  • 7-25 aprile 2016, Municipio di Stoccarda, “IMPREVEDIBILE”, mostra di arte contemporanea, organizzata dall’Istituto Italiano di Cultura;
  • 21 maggio / 3 giugno 2016, Firenze, collettiva nella galleria d’Arte Mentana a cura di Artexpertise, “ARTE & COLLEZIONISMO 2016”;
  • 11-23 giugno 2016, Siena, Palazzo Sergardi, “SPLENDIDO CONTRASTO”, collettiva del Gruppo Imprevedibile;
  • 24 giugno / 20 luglio 2016, Firenze, Gadarte, “AVANGART, 1° rassegna d’arte d’avanguardia e arti innovative”, collettiva a cura di Denis Bartolini;
  • 15 luglio / 15 settembre 2016, Villa Pallavicino a Busseto (Parma), VERDIREMIX ARTE, all’interno del Verdi Remix Festival, collettiva a cura di Roberto Panizza;
  • 10-11 settembre 2016, Golena di Luzzara (Reggio Emilia), “INDACO, FESTIVAL 432 HZ”;
  • 26 novembre / 31 dicembre 2016, Firenze, collettiva nella galleria Puzzle, “PUZZLE 3rd ANNIVERSARY”;
  • 16 dicembre 2016 / 5 gennaio 2017 Firenze, galleria Simultanea Spazi d’Arte, “ARTISTI IN SIMULTANEA”, collettiva a cura di Daniela Pronestì e Roberta Fiorini;
  • 28 dicembre 2016 / marzo 2017, San Marino, Spazio Onofri 57, “FLOATING”, personale a cura di Andrea Della Balda;
  • 10-20 gennaio 2017, Firenze, OnArt Gallery, “LANDESCAPE”, collettiva a cura di Romina Sangiovanni;
  • 8-20 aprile 2017, Bologna, Galleria d’Arte Wikiarte, “IL VIAGGIO DELL’ARTE”, collettiva;
  • 19-27 maggio 2017, Milano, 809 Art Gallery, “IMMAGINE E MATERIA-VISIONI CONTEMPORANEE”, collettiva a cura di Francesca Callipari;
  • 2-24 settembre 2017, San Marino, “COLLECTIV’ART”, collettiva nello Spazio Onofri, a cura di Andrea Della Balda;
  • 5-9 ottobre 2017, Palazzina di Caccia di Stupinigi (Comune di Nichelino – To), “ARS INOGNITA – Rassegna promotrice per una Biennale degli Artisti”, collettiva a cura di Qualitaly;
  • 27 ottobre / 12 novembre 2017, Piacenza, Palazzo Farnese, “SPLENDIDO CONTRASTO”, collettiva del Gruppo Imprevedibile, a cura del Prof. Giorgio Grasso;
  • 2-16 novembre 2017, Torino, Ecomuseo urbano, “ASTRATTISSIMA”, collettiva con un artista per ciascuna Regione italiana;
  • 7-20 dicembre 2017, Firenze, galleria Simultanea Spazi d’Arte, “ARTISTI IN SIMULTANEA”, collettiva a cura di Daniela Pronestì e Roberta Fiorini;
  • 7 dicembre 2017 / 21 gennaio 2018, Monza, Serrone della Villa Reale, “ANGELI E ARTISTI”, collettiva a cura di Daniele Crippa;
  • 4-14 febbraio 2018, Campi Bisenzio, Teatrodante Carlo Monni, “PREMIO MOSTRA COLLETTIVA – PRIMA EDIZIONE PREMIO CLAUDIO CAVALLINI”, a cura dell’Associazione Culturale Operarte;
  • 14-22 aprile 2018, Novara, Castello Sforzesco, “17° PREMIO ARTE CITTA’ DI NOVARA”, secondo classificato sezione “PITTURA”;
  • 25 maggio / 4 giugno 2018, Mantova, galleria M.A.D., “FORME E COLORI NELLO SPAZIO”, collettiva a cura di Lucia Ghirardini;
  • 26 maggio / 3 giugno 2018, Reggio Calabria, Castello Aragonese, “IL GUSTO DELL’ARTE”, collettiva a cura di Vincenzo Scardino;
  • 28 giugno / 10 luglio 2018, Firenze, galleria Simultanea Spazi d’Arte, “SOTTO IL SOLE GIAGUARO”, collettiva a cura di Daniela Pronestì e Roberta Fiorini;
  • 13-25 ottobre 2018, Firenze, Società Delle Belle Arti, Circolo degli Artisti “Casa di Dante”, mostra collettiva dei finalisti del PREMIO INTERNAZIONALE D’ARTE “OMAGGIO A STEFANO USSI”;
  • 10-27 novembre 2018, San Marino, Spazio Onofri 57, “IMMAGINA”, personale a cura di Andrea Della Balda;
  • 1 dicembre 2018, Firenze, Salone dei Cinquecento in Palazzo Vecchio, esposizione dei premiati della “XXXVI EDIZIONE DEL “PREMIO FIRENZE”;
  • 15-30 dicembre 2018, Piacenza EXPO, “#STREET – Basquiat, la Street Art Italiana e le Visioni Metropolitane”, collettiva a cura di Giorgio Grasso;
  • 21 dicembre 2018 – 8 gennaio 2019, Firenze, galleria Simultanea Spazi d’Arte, “ARTISTI IN SIMULTANEA”, collettiva a cura di Daniela Pronestì e Roberta Fiorini;
  • 30 aprile 2019, San Marino, Palazzo Graziani, esposizione personale in occasione dell’evento pubblico per la presentazione del libro “COLOR – Viaggio dentro l’opera d’arte”;
  • 18-26 maggio 2019, Novara, Sala Accademia Complesso Monumentale Broletto, NOVERA, collettiva a cura di Vincenzo Scardigno;
  • 1-9 giugno 2019, Benevento, Rocca dei Rettori, “SINERGIE – SACRUM ET PROFANUM”, collettiva a cura di Antonella Botticelli;
  • 9-16 giugno 2019, Novara, Castello Sforzesco, “18° PREMIO ARTE CITTA’ DI NOVARA” e mostra vincitori edizione 2018;
  • 20 giugno – 5 luglio 2019, Bergamo, Sala Manzù, “CREATIVI PER NATURA”, collettiva a cura di Rita Caracausi, Alessio Girella, Andrea Colombo;
  • 6-14 luglio 2019, Fiorenzuola (Pc), Ex Macelli, “ATLANTIC ECHOES – CONTEMPORARY ART SHOW”, collettiva;
  • 15-29 luglio 2019, Firenze, galleria  Simultanea Spazi d’Arte, “SUMMERTIME”, collettiva a cura di Daniela Pronestì e Roberta Fiorini;
  • 7-18 settembre 2019, Conversano (Ba), Castello dei Conti d’Acquaviva d’Aragona, “FACE’ARTS”, collettiva a cura di Mary Sperti;
  • 30 novembre 2019, Firenze, Società Delle Belle Arti, Circolo degli Artisti “Casa di Dante”, mostra collettiva dei finalisti della BIENNALE DI GRAFICA “L’UOMO E LA MACCHINA”;
  • 7 dicembre 2019, Firenze, Salone dei Cinquecento in Palazzo Vecchio, esposizione dei premiati della “XXXVII EDIZIONE DEL PREMIO FIRENZE”;
  • maggio 2020, “I CONTEST FACE’ ARTS #ripARTiamo”, collettiva online a cura di Mary Sperti;
  • 26 aprile / 10 maggio 2021, Udine, galleria ARTtime, “ASTRATTO O INFORMALE?”, collettiva a cura di Luca Franzil;
  • 28 maggio / 3 giugno 2021, Roma, galleria Medina, “REST-ART”, collettiva a cura di Simultanea Spazi d’Arte;
  • 19-27 giugno 2021, Bellagio (Co), Torre delle Arti, “FACE’ ARTS 2021”, collettiva a cura di Mary Sperti;
  • 16 luglio – 5 settembre 2021, Sorrento (Na), Villa Fiorentino, “V° edizione SYART FESTIVAL – INTERNATIONAL MEETINGS OF CONTEMPORARY ART”, a cura di Rossella Savarese

PREMI

  • menzione di merito e medaglia di bronzo del Concorso artistico “QUALITY CCUP EXPO 2015 – LE QUALITA’ DELLA CINA” – Milano, Padiglione CCUP all’Expo, maggio/settembre 2015 – con “RED CHINA”;
  • vincitore della II Edizione del Premio “NOTT’ARTE” – San Marino, agosto 2017 – con “INTO THE WILD”;
  • secondo classificato sezione Pittura del “17° PREMIO ARTE CITTA’ DI NOVARA” – Novara, castello Sforzesco, aprile 2018 – con “STARDUST”;
  • finalista nella sezione Pittura del PREMIO INTERNAZIONALE D’ARTE “OMAGGIO A STEFANO USSI” – Firenze, circolo degli Artisti Casa di Dante, ottobre 2018 – con “L’ULTIMO APPRODO”;
  • medaglia di bronzo per la sezione Pittura della XXXVI EDIZIONE DEL “PREMIO FIRENZE” – Firenze, Salone dei Cinquecento in Palazzo Vecchio, dicembre 2018 – con “ATTRAVERSARE SPAZI E SPAZI”;
  • finalista nella sezione Grafica Digitale della BIENNALE DI GRAFICA “L’UOMO E LA MACCHINA” – Firenze, Circolo degli Artisti Casa di Dante, novembre 2019;
  • fiorino d’argento per la sezione Pittura della XXXVII EDIZIONE DEL “PREMIO FIRENZE” – Firenze, Salone dei Cinquecento in Palazzo Vecchio, dicembre 2019 – con “L’ULTIMA LUCE”;
  • vincitore per la sezione Pittura Astratta, del “I CONTEST FACE’ ARTS #ripARTiamo” a cura di Mary Sperti, giugno 2020 – con “QUANDO PIOVEVA FORTE IL TEMPO SI FERMAVA”;
  • 4° posto ex aequo “PREMIO ARTISTA D’ITALIA” con “L’ULTIMO APPRODO”, luglio 2021

PUBBLICAZIONI:

  • “Mood” (numero di maggio/giugno 2013), e-book magazine, Floating-Progetto grafico;
  • “Revolution”, periodico trimestrale, settembre 2017;
  • Segnalazione Critica all’interno del n° 53 CAM (Catalogo Arte Moderna Mondatori);
  • “Charter”, periodico d’arte contemporanea;
  • “COLOR – Viaggio dentro l’opera d’arte”, AIEP Editore s.r.l., 2019

CONTATTI

cell. 3381959988;

www.micheleberlot.com

email: berlot@tiscali.it

https://www.facebook.com/michele.berlot

[:en]Quaranta Giorni and Cuarenta Noches by Carolina Correa[:it]Quaranta Giorni and Cuarenta Noches ritratti di Carolina Correa[:]

Carolina Correa

Quaranta Giorni and Cuarenta Noches

Quaranta Giorni and Cuarenta Noches will feature Carolina Correa’s portraits of Italian-Argentinian migrants. The exhibit tells the story of migration through the eyes of a direct descendant. The featured individuals are relatives of the artist and her friends, the most important being her great-grandfather Dominico Vitulano. The portraits represent the period between WWI and WWII in which Italians immigrated to Argentina to seek refuge from war-induced poverty. The Italian-Spanish title Quaranta Giorni and Cuarenta Noches translates to “40 days and 40 nights” and is a direct reference to the amount of time it took to travel by boat from Italy to Buenos Aires. Each portrait is accompanied by the original photo on which the portrait is based and the year when the subject immigrated to Argentina. Old luggage and replicated objects of those featured in the portraits will be displayed alongside the paintings for a deeper communication of the journey experienced. The exhibit represents not only stories of migration but also family, poverty, memories, and a sense of identity. 

 

Artist Bio

Carolina Correa is a painter from Buenos Aires, Argentina living in Florence, Italy. She has painted her entire life, but originally studied fashion design at the University of Buenos Aires. She took art classes while she lived in Argentina, and when her studies ended in 2016 she decided to move abroad to keep practicing, finding herself in Florence. Here, she took a class on oil painting and eventually made the decision to move here full time. While studying in Florence she discovered the palette knife method of oil painting, which has remained her preferred medium ever since. Correa is inspired by pop art and the use of many colors. She works and teaches in her own studio where she partners with local artists. In 2020, her paintings were featured in a cocktail book entitled “Animal Kingdom”, from the Atrium Bar in the Four Seasons Hotel in Florence.  She aims to share her artistic passion with others, with her personal endeavors, commissioned pieces, and techniques. 

 

Doménico Vitulano
60cm x 50cm

Oil painting with palette knife on canvas

Born in Molfetta, Province of Bari, Puglia. 
Disembarked from the ship Augustus in Buenos Aires on 13 April,1910, at the age of 24.

Ema Celestina Pierina Birchner
60cm x 50cm

Oil painting with palette knife on canvas

Born in Piemonte on 24th of September 1899. Disembarked in Buenos Aires on the 1st of October,1923, at the age of 24.

María Mastroianni
60cm x 50cm

Oil painting with palette knife on canvas 

Born in Caserta, Campania
Disembarked from the ship Duilio in Buenos Aires 
On the 7th of September, 1930, at the age of 5 years.

Doménico Amantea
60cm x 50cm

Oil painting with palette knife on canvas

Born in Gioiosa Ionica, Calabria. Disembarked from the ship Etna in Buenos Aires. On the 10th of November, 1948.

Marietta Cosentino
60cm x 50cm

Oil painting with palette knife on canvas 

Born in Acri, Province of Cosenza, Calabria. Disembarked from the ship Atlanta in Buenos Aires. On the 3rd of February, 1928, at the age of 3 years.

Urbano Petroselli
60cm x 50cm

Oil painting with palette knife on canvas 

Born in Macerata, Le Marche. Disembarked from the ship Guilio Cesare in Buenos Aires. On the 1st of July, 1927, at the age of 4 years.

Vincenzo Re – Giovanna Incremona
60cm x 50cm

Oil painting with palette knife on canvas 

Born in Ragusa, Sicilia.
Disembarked in Buenos Aires on the 12th of January, 1884. They were married in Rosario, Province of Santa Fe – Argentina.

Angelo Salerno
60cm x 50cm

Oil painting with palette knife on canvas

Born in Acerno, Province of Salerno, Campania. Disembarked the ship Duca di Genova in Buenos Aires  on the 15th of November, 1913, at the age of 30 years.

Santo Picco
60cm x 50cm

Oil painting with palette knife on canvas

Born in Genova on the 26h of March, 1866.
Disembarked in Buenos Aires from the ship Caffaro on the 17th of June, 1892, at the age of 25

BEHOLD: Beauty Through the Eyes of Many

BEHOLD

Beauty Through the Eyes of Many

FUA-AUF Final Student Exhibit

BEHOLD

Beauty Through The Eyes Of Many​

FUA-AUF Final Student Exhibit

Advanced Painting

Lily Leaphart
University of South Carolina 
Studio Art/ Art History Double Major 

After the Storm
Oil on canvas
180cm x 200cm

Julia Pennanen
Saint Joseph’s University
Psychology Major, Art Minor

Rebirth from Ashes
Oil on canvas
45 cm x 60 cm

Kristen Chou
Williams College Psychology and Studio Art

Hell, Purgatory, and Eden on Earth
Oil on Canvas
3 pieces, 20cmx29cm

Kristen Chou
Williams College Psychology and Studio Art

Hell, Purgatory, and Eden on Earth
Oil on Canvas
3 pieces, 20cmx29cm 

Kristen Chou
Williams College Psychology and Studio Art

Hell, Purgatory, and Eden on Earth
Oil on Canvas
3 pieces, 20cmx29cm 

Charlotte Fritze Mayer
Gap Year Student
Intended Global Health major and Studio Art minor


Phenomenology of Emotions
Oil paint on grain canvas
Three 30×40 cm

Caleb England
FUA-AUF
Bachelor of Arts in Cultural Studies
(Fine Art)

Nearly Finished
Oil on wood panel
50 cm x 40 cm

Julia Pennanen
Saint Joseph’s University
Psychology Major, Art Minor

This Storm Will Pass
Oil on Canvas
51 cm x 37 cm

Intermediate Photography

Carly Frommer 
2nd Year Student FUA-AUF
Visual Communications

Untiled – Long Term Project
Digital Inkjet Print Canson Satin 270 A3

Advanced Photography

Taylor Samuels
4th Year Student FUA-AUF
Visual Communications

Untiled – Long Term Project
A3 Digital Inkjet Print Canson Satin 

Advanced Photography

Troy Joiner
4th Year Student FUA-AUF
Major Photography 

Untiled – Long Term Project
A3 Digital Inkjet Print Canson Satin 

Advanced Photography

Robert Thompson
Johnson & Wales University
Major Photography

Untiled – Long Term Project
A3 Digital Inkjet Print Canson Satin 

Advanced Film Photography

Robert Thompson
Johnson & Wales University
Major Photography

Untiled 
Photography 11X 14
Silver Halide Print

Photography 8X10 
Cyanotype Print

Street Photography

Cardillo Rachel
Endicott College
Photography

Untiled
Digital Inkjet Print Canson Satin A4

Digman Samantha
St.Norbert College
Graphic Design

Untitled
Digital Inkjet Print on Canson Satin / A4

Elwes Cyprian
University of Alabama
Public Relations

Untitled
Digital Inkjet Print on Canson Satin / A4

Victor Goedhuis
FUA-AUF
Photography

Untiled
Digital Inkjet Print Canson Satin A4

Digman Samantha
St.Norbert College
Graphic Design

Untitled
Digital Inkjet Print on Canson Satin / A4

Heather Oxsen
Endicott College
Graphic Design

Untitled
Digital Inkjet Print on Canson Satin / A4

Julia Pennanen
Saint Joseph University
Psychology

Untitled
Digital Inkjet Print on Canson Satin / A4

Sophia Casiero
Fairfield University
Marketing

Untitled
Digital Inkjet Print on Canson Satin / A4

Smith Shyler
Muhlenberg College
Media & Communication

Untitled
Digital Inkjet Print on Canson Satin / A4

Smith Shyler
Muhlenberg College
Media & Communication

Untitled
Digital Inkjet Print on Canson Satin / A4

Ryan Atkins
Endicott College
Photography

Untitled
Digital Inkjet Print on Canson Satin / A4

Gianna Dias
Washington State University
Biology

Untitled
Digital Inkjet Print on Canson Satin / A4

Intermediate
Digital Photography

Carly Frommer 
2nd Year Student FUA-AUF
Visual Communications

Untiled
Digital Inkjet Print Canson Satin A3

Carly Frommer 
2nd Year Student FUA-AUF
Visual Communications

Untiled
Digital Inkjet Print Canson Satin A3

Carly Frommer 
2nd Year Student FUA-AUF
Visual Communications

Untiled
Digital Inkjet Print Canson Satin A3

Leaphart Autumn
University of South Carolina
Studio Art

Untiled
Digital Inkjet Print Canson Satin A4

Maeve Mugglebee
FUA-AUF 
Photography

Untitled
Digital Inkjet Print on Canson Satin / A4

Maeve Mugglebee
FUA-AUF 
Photography

Untitled
Digital Inkjet Print on Canson Satin / A4

Maeve Mugglebee
FUA-AUF 
Photography

Untitled
Digital Inkjet Print on Canson Satin / A4

Leaphart Autumn
University of South Carolina
Studio Art

Untiled
Digital Inkjet Print Canson Satin A4

Smith Shyler
Muhlenberg College
Media & Communication

Untitled
Digital Inkjet Print on Canson Satin / A4

Smith Shyler
Muhlenberg College
Media & Communication

Untitled
Digital Inkjet Print on Canson Satin / A4

Smith Shyler
Muhlenberg College
Media & Communication

Untitled
Digital Inkjet Print on Canson Satin / A4

Arte diffusa

Arte Diffusa

Gianni Mannocci e Caterina Perrone

Nelle mostre precedenti abbiamo descritto i nostri lavori come messaggi narrativi che tendono a diffondere la cultura visiva attraverso consapevoli citazioni.

Si raccontano episodi veri o verosimili del mondo dell’arte, tecniche, scoperte visive, ossessioni di artisti di cui si citano le opere, fingendo a volte incontri o avvenimenti immaginari.

È un mondo di sogni in cui un’opera si trasforma in un’altra.

In questo tipo di lavori lo stile riconoscibile è solo il metodo narrativo.

L’intento finale è ottenere “arte diffusa”.

Prediligiamo oggetti d’uso, che si modificano perché anche chi li vive entri nel processo di creazione.
Così avviene anche in questa mostra, in uno spazio molto interessante per noi, una scuola in cui si apprendono e sviluppano non solo tecniche originali di preparazione del cibo, ma anche sensibilità e gusto nella forma della presentazione. Percorso che prevede una cultura complessa e profonda dell’accoglienza.

Questa per noi è l’arte diffusa, che entra nella vita di ogni giorno attraverso canali differenti, culture positive che non sono solo arte ma, sostenuti dall’impegno e dalla fiducia nella ricerca, divengono espressioni artistiche che si diffondono come in una epidemia. Positiva.

BIO

Gianni Mannocci e Caterina Perrone vivono e lavorano a Firenze.

Gianni ha operato nella ceramica negli anni ‘70 , nel design negli anni ’90.

Dal 2000 insieme a Caterina realizza oggetti di design d’arte, in cui progettazione, scultura e pittura si integrano con la ricerca di nuovi materiali e tecniche decorative e visive.

Caterina si è formata in una Accademia e si esprime principalmente nella decorazione pittorica.

Hanno esposto in mostre d’arte e design a Firenze, Venezia, Padova, Milano.

L’ultima importante esposizione, nel 2019, è stata a Villa Barbaro di Maser, dove, dialogando con le prospettive accelerate di Palladio e le anamorfosi di Veronese, hanno realizzato all’interno della villa l’immagine virtuale di una fontana, abitata dagli animali degli affreschi di Veronese.

_________________

Eng: An accomplished architect, Gianni Mannocci began his career in the 1970s when he pursued art as a side hobby, starting with ceramics and evolving into design twenty years later. Biologist Caterina Perrone craved an outlet in which she could express herself creatively, going back to the academy to get formally trained in pictorial decoration. Thus, in 2000, the

Florence-based couple joined forces, utilizing their passions for sculpture-making, painting, and design to create unique mixed media art. Gianni specializes in sculpture, technical art, and volume, whereas Caterina focuses on visual imagery and color. Inspired by Miró, Duchamp, and many other expressionist artists, each of the couple’s pieces combines their respective decorative and visual techniques with an ever-changing array of new materials. Their art has been displayed in exhibitions throughout Italy at notable locations in Venice, Padua, Milan, and Florence.

The Arte Diffusa exhibition, which opened at the Corridoio Fiorentino located at the Florence University of the Arts (FUA-AUF) on February 10th, showcases a series of paintings and sculptures from these acclaimed artists. Defying the anti-utilitarian approach taken by most European artists, Mannocci and Perrone repurposed stationary objects, keeping their functionality but expanding their creative expression. They named this eclectic exhibition of mixed mediums “Arte Diffusa” to represent the transfer of their emotions, feelings, and creative thoughts into all the art they create. The center of the exhibition is two armchairs, repurposed from a past exhibit in the 1970s that symbolize the progression of their artwork together, and how art is dreams made into reality. Their pieces depict the duality of masculinity and femininity, which can be seen in the exhibit’s centerpieces: mixed-media art chairs. The craft of the chairs and chiseling of the wood, done by Gianni, displays the masculine side of creativity and art. The colorful and intricate detailing of the furniture, done by Caterina, illustrates the femininity in life and art.

When interviewed about the exhibition, Gianni Mannocci and Caterina Perrone remarked, “this exhibition [Arte Diffusa] is, in a very interesting space for us, a school in which not only original techniques of food preparation are learned and developed, but also sensitivity and taste in the form of presentation. A path that provides for a complex and profound culture of hospitality.” Made evident by these statements, the artists find great value in connecting places of learning and their art, where presentation, hospitality, and culture are vital pillars of the FUA-AUF community and their personal objectives. The artists also stated that “For us, this is widespread art, which enters everyday life through different channels, positive cultures that are not just art but, supported by commitment and trust in research, become artistic expressions that spread like an epidemic.” When later asked how they define success as artists in an abstract, ever-evolving industry, Mannocci and Perrone were adamant that they don’t fear success, yet it is not their end goal. Instead, success takes the form of happiness with their work and is displayed in their relationships with people. It is essential to Mannocci and Perrone that their art remains as authentic representations of their lives, both internally and externally. This exhibit directly expresses their emotions, which is why it is an eclectic showing of varying mediums, colors, styles, and pieces.

Third-year university student Claire Ryan has been working with FUA Professor David Weiss to curate a gallery of “Arte Diffusa” worthy of showcasing Mannocci and Perrone’s tireless work and expression of their passion for art. Ryan has met with Mannocci and Perrone to discuss their artwork and its story. Having been in this industry for over 50 years, Gianni and Caterina have seen how success in the art world turns other artists’ passions into a mentally and physically exhausting job. Success is a great danger to all internally gratifying talents and desires, which is why Mannocci and Perrone are adamant about focusing on personal freedom, independence, and long-lasting connections over all else.

The exhibit is a unique representation of what the artists refer to as “a world of dreams in which one work is transformed into another.” Ryan explained that meticulous consideration goes into the setup of the artwork and the gallery itself. Every piece has a different meaning, and therefore, the way each piece is displayed has a specific connotation. The Florence University of the Arts (FUA-AUF) is ecstatic to be hosting this exhibition of Gianni Mannocci and Caterina Perrone’s remarkable “Arte Diffusa”, which is now open for students and the general public to enjoy freely.

By Elizabeth Zoltak, Claire Cetola, and Jordyn LoPresti

“Oro1”
legno curvato, filato, foglia oro, acrilico
seduta: cm 80×65

2015

“Oro 2”
legno curvato, filato, foglia oro, acrilico
seduta: cm 80×65

2015

“Blu e rosso”
acrilico su carta
quadro: cm 100×150

2017

Marina-vulcano
acrilico su carta
quadro: cm 100×150

2015

“Omaggio a Grau-Garriga1”
legno curvato, filato, tessuti vari, acrilico spatolato
seduta: cm 80×65

2019

“Omaggio a Grau-Garriga2”
legno curvato, filato, tessuti vari, acrilico spatolato
seduta: cm 80×65

2019

“Astrakan1”
legno curvato, filato, acrilico spatolato
seduta: cm 80×65

2018

“Astrakan2”
legno curvato, filato, acrilico spatolato
seduta: cm 80×65

2018

“Litorale”
acrilico su carta
quadro: cm 100×150

2016

“Città”
acrilico su carta
quadro: cm 100×150

2018

“Blu e rosso”
acrilico su carta
quadro: cm 100×150

2017

Distinct Reality

Distinct Reality

Sergio Falco e Maurizio Villani

Sergio Falco nasce a Firenze dove lavora e risiede. Frequenta il Liceo Artistico e completa gli studi presso l’Accademia di Belle Arti di Firenze con il Prof. Notargiacomo. Nel 1997 si diploma a pieni voti con una tesi sulla nascita dell’astrattismo. Negli anni successivi si dedica alla professione di grafico come libero professionista, collaborando anche con alcuni studi. Dal 2006 al 2009 è docente di disegno e pittura presso l’Accademia Europea di Firenze. Dal 2009 tiene corsi di grafica digitale con scuole private e in collaborazione con il Comune di Firenze.

Dal 2018 si dedica a tempo pieno alla pittura affiancando l’attività di grafico e di docente di grafica digitale.

Nel 1999 partecipa ad una collettiva presso la galleria “Via Larga” di Firenze. Nel 2020 partecipa ad una collettiva presso la galleria “On art” di Firenze.

 

L’artista, da sempre interessato al bianco e nero come possibilità di costruzione delle cose, indaga sul rapporto luce ed ombra ed ai rimandi, anche simbolici, che esso implica. I suoi paesaggi sono al tempo stesso figurativi e astratti, riconoscibili e immaginati.

All’artista interessa lavorare su questo limite, che si muove fra il dato reale e il processo mentale che lo individua e lo ricrea. Se la base di partenza è la fotografia, l’assenza di colori, la mancata presenza di vita, sposta il lavoro verso un’astrazione figurativa. Opera con una pittura lenta, stratificata, con passaggi di leggere velature.

____

Maurizio Villani nato a Bulach (ZH) Svizzera il 05/10/1963. Residente dal 1997 a Impruneta (FI). Ha frequentato il liceo artistico Firenze1 dal 1984 al 1988 e completato gli studi presso l’Accademia di Belle Arti di Bologna con il Prof. Concetto Pozzati dal 1988 al 1992.
Diplomato a pieni voti con una tesi sul rapporto disegno automatico gesto e colore dell’artista Henri Michaux. Nel 1991-92 partecipa ad una mostra collettiva “ Premio di Incisione Giorgio Morandi” presso l’Accademia di Belle Arti di Bologna.

Maurizio Villani esprime, attraverso il faro della coscienza sulla materia, un processo di trasformazione interiore.

Tramite sfumati passaggi di colore monocromatico, disegno e incisioni, forme naturalistiche e astrazioni simboliche dall’ombra si svelano alla luce in uno spazio-tempo sospeso, dove le emozioni e le riflessioni si stimolano vicendevolmente, indagando sul mistero della vita e della morte.

 

Sergio Falco

Senza titolo (2019) 50×40 cm

Senza titolo (2019) 70×40 cm

Senza titolo (2019) 70×40 cm

Senza titolo (2020) 50×60 cm

Senza titolo (2021) 80×100 cm

 Senza titolo (2021) 100×70 cm

 Senza titolo (2021) 70×80 cm

Maurizio Villani

Senza titolo (2021) 100×60 cm

Senza titolo 32×30 Tecnica mista su carta.  Anno:1988-1989

Senza titolo 33×27 Tecnica mista su carta.  Anno: 1988-1989

Senza titolo 28×30 Tecnica mista su carta.  Anno: 1988-1989  

Senza titolo 28×23 Tecnica mista su carta.  Anno: 1988-1989

Senza titolo 28,5×25 Tecnica mista su carta.  Anno: 1988-1989

Senza titolo 55×45 Incisione su lastra.  Anno: 1991-1992

Senza titolo 55×45 Incisione su lastra. Anno: 1991-1992

Senza titolo 55×45 Incisione su lastra. Anno: 1991-1992

Senza titolo 75×55 Incisione su lastra. Anno: 1991-1992

Senza titolo 40,5×55,5 Incisione su lastra. Anno 1991-1992

Solo Exhibit

SOLO EXHIBIT

and Publication of Solo Work 

 FUA-AUF Career Photography Students

This series of solo exhibitions is the unbiased result of different and creative minds focusing on critical contemporary themes. Like alchemists, these young photographers take the heavy lead of everyday life and turn it into gold. Through their transformative gaze, photography becomes a sharp, gilded blade able to cut into the very fabric of reality and reveal the tender, raw marrow of contemporary self-expression. The final product leads the viewer to be confronted with a myriad of diverse bodies and sensitivities inhabiting the world and raising questions on how reconciliation with the self and with others can be reached. The investigation of the subject matters occurs by means of a variety of conceptual and technical forms, yet the leitmotiv tying such artworks resides in the realization that photography has the capacity to shed light over the balances and imbalances of human connection and connectedness. Through this medium, conjugated in a plethora of approaches, life can be assessed, showcased, and ultimately confronted. The artists displaying their projects today allow us to enter four realms of philosophic and social relevance, which touch on dissociation, emotional abuse, personal enlightenment, and the value of uniqueness. Carly Frommer explores the detrimental consequences of toxic love and its aftermath; Lindsey Curabba delves deeper into the effects of her own mental health on sex, relationships, and bodily consciousness; RT looks at the territory of Hare Krishna devotees and their quest for happiness; Taylor Samuels examines the impacts of personal character on the success of a small business. By coaxing their subjects into the confines of the frame, their work conveys a new narrative – whether it’s organized religion, a love story gone wrong, living in the throes of drug-induced numbness or even entering the neon-lit sanctuary of a hairdresser, the stories exhibited within the spaces of the Florence University of The Arts show a desire to go deeper, to overthrow stigma, to parcellize trauma, and celebrate the banal. 

Michelle Davis and Sofia Galli

Final Student Exhibit Spring 2022

Final Student Exhibit

Spring 2022

Ceramic

Bechtel Madison, Whitney Anna, Walsh Rebecca, Sands Hallie, Rossini Sienna, Marrocco Savannah, Bracken Hannah, Intrieri Allison , Finnegan Kelsey, Delapenha Jamie, Bruder Caroline, Colecchi Talia, Buckley Emily, Abernathy David, Bleyer Annamaria, Bodemer Jillian, Borgen Breanna, Citro Sophie, Holt Justine, Infante Erin, McCray Emma, Pasternak Tillie, Potts Monica, Roach Mackenzie, Saccoach Riley, Smith-Granger Chanel

Variation on the theme Group of objects

The work stems from the elaboration of “Bacterio”, the famous decorative pattern created by Ettore Sotsass, an Italian architect and designer famous for his long collaboration in the Olivetti company. The goal was to create a group of vessels that could be observed as a whole. To achieve this, the process is divided into two distinct moments. First the formal search for the vase itself, homogeneous in research and technical execution. Then the decorative phase in which each student has elaborated a different pattern in black and white associated with a uniform color. the element of variety is the one that suggests a rhythmic reading to the group of objects and that defines them as a whole.

photography

Claire Ryan
Intro to Digital Photography – University of Alabama, AL – A4

Inkjet Print

Emma Fender
Street Photography
University of Georgia, GA – A4 Inkjet Print

Emma Fender
Street Photography
University of Georgia, GA – A4 Inkjet Print

Ellie Lindsey
iPhoneography

 

Isabella Ferretti

Lilian Shevlin
iPhoneography

Danielle Hardy
iPhoneography

Logan Connealy
iPhoneography

Isabella Parente
Street Photography – New School, NY – A4 Inkjet Print

Isabella Parente
Street Photography – New School, NY – A4 Inkjet Print

Emma Fender
Street Photography
University of Georgia, GA – A4 Inkjet Print

Charvi Shah
iPhoneography.

Devon Dooley
iPhoneography

Leah Van Note

Logan Connealy
iPhoneography

Lorelei Douds
iPhoneography

Painting

Cecilia LeBlanc
Looking Within
oil on canvas
Eastern University

When creating art I find that I struggle to connect myself into my own work. I get so caught up in trying to copy famous artists that I never truly find my own style or ideas. When reading about Andriano Olivetti and how he integrated creativity into his company and allowed artists to incorporate their own ideas into the typewriting business it inspired me to literally place myself into my own work. While giving a contribution to Olivetti’s incredible accomplishments of not only his typewriters but also for changing the idea of the workplace, I include in my paintings my own uniqueness and individuality. My love for the human figure and portraiture is shown through my work as I strongly believe that your work should be something you love and are interested in.

Natasha Marie Kam
Outside the Kitchen Window
20 by 27 inches; watercolor
Middle Tennessee State University

This abstract watercolor is inspired by Emma Larsson. I wanted to take apart, then combine, elements Larsson uses and add my own twist to it. Using free-flowing and impromptu technique to create a series. Also working by my kitchen window, and took influence from objects and designs I saw outside.

Estelle Sweeney
“Wrestle with an angel”
24in by 20 in
University of Colorado boulder

The wrestle humanity has with destruction and beauty is shown within the devil’s outreached positioning grabbing onto the angel. Transitioning from industrialization and capitalism to a utopian society is shown as a struggle through this painting. The angel is supposed to represent humanity moving on from destroying our world and morphing into the next era of clean energy and existing with nature even within our cities, the devil is the other side of humanity holding onto riches and rags, scared to move into the next phase of reality. 

Charlotte Holder
Normal Bodies Oil Painting,
20×25, 20×25, 30x40cm
Santa Clara University


In an effort to heal the trauma that lives in my own body which therefore deems it imperfect, I decided to create a series of paintings that establishes a space for misrepresented and undervalued bodies that previously were stripped of a space such as this. In this series, I employed the use of oil paints and handwritten poetry to create unique abstraction. I used a limited color palette, and I gathered inspiration from 1960s Italian artists like Mario Schifano and his use of geometric lines/shapes and figure illustration.

Anne Sipos
Philippians 1:9-11
3 20x30cm pieces as a series, mixed media on canvas
Arizona State University

“Philippians 1:9-11” reflects on Paul’s words to the Philippian church in the Bible, and it is what is quoted in this series of work. Underlying this verse is a process. A process that starts in the heart, infiltrates the mind, and leads to the becoming of everything that one breathes from their lungs. In this case this process is in the context of someone coming to a belief in Jesus Christ and it becoming all of who they are. 

As I was creating the “Philippians 1:9-11” piece, I had the concept in mind. It was something that I could meditate on and let permeate my thoughts, as well as dive deeper to try to depict something so complex simply and visually. It helped me contemplate and process this section of Scripture in hopes that viewers will be able to do the same and make it applicable to their own lives.

McKenna Lush
Lemon Tree
20 inches x 27.5 inches, oil paint
University of Kentucky

Adrienne Albro-Fisher
Colors in the Italian Landscape
Oil paint on canvas. Both works: 3’9” x 2’9”

University of Massachusetts Amherst

I am interested in color and texture when I am creating art. I often enjoy natural palettes with hints of brighter colors. Colors are one way I can bring emotion and mood into my pieces. I also enjoy exploration in texture by building up a canvas with paint. I try experimenting with different tools to create different textures. In this series, I will explore the colors and textures found in the landscape of the Italian 60s. I am interested in depicting the landscape and expressing the relationship between nature and people during this time. As I observe Florence I see places where nature creeps into the city, along the Arno, and through plants and gardens. I also see where the architecture has become part of the landscape as you view the mountains off in the distance or look out at Piazzale Michelangelo to see the red roofs stretching all over. I will pull color and texture from the stone architecture, soft forms of nature, and the daily lives of Italian people during the 60s. In doing this I will develop abstract oil paintings that express the relationship between these ideas. My hope is to represent the visual identity of the 1960s in Italy through abstraction to transport the viewer back to this time. 

Mitad ceniza Mitad latido

Mitad ceniza Mitad latido

Mitad ceniza Mitad latido è un progetto artistico di Nani Cárdenas ed Elisenda Estrems, realizzato a partire dalla poetica di Jorge Eielson, esposto sinora a San Francisco, Lima e Arequipa, che nel 2022 sarà visibile anche al pubblico italiano a Milano, Firenze e Roma.

Il progetto nasce dall’amore delle due artiste per il maestro peruviano, in particolar modo per la poesia di cui era fatta ogni sua opera e dalla necessità di dare forma a questo amore per generare un dialogo artistico con lo stesso Eielson.

L’esposizione – realizzata con sculture, installazioni, disegni, tessuti e molto altro – è anche fatta da luci e ombre, codici e silenzi, spazi e vuoti, che la rendono un universo di emozioni.

Le due artiste, pur partendo da uno stesso bisogno di dialogare con la poetica di Eielson, intraprendono da subito due strade diverse: le opere di Nani Cárdenas, che sembrano incentrate sulla presenza e assenza delle forme, germogliano prevalentemente dalla raccolta poetica Noche oscura del cuerpo scritta nel 1955, mentre quelle di Elisenda Estrems, basate su codici e frammentazioni, da Temas y variaciones (1950).

Mitad ceniza / Mitad latido ci regala uno sguardo nuovo sull’universo eielsoniano, una porta celata che si apre, un’idea inedita che ci aiuta a comprendere un altro tassello della vita e dell’opera del Maestro, grazie a tanta bellezza e tanto amore, tanta arte e tanta ispirazione, tanto Eielson e tanto Jorge.

Per il valore artistico del progetto Mitad ceniza Mitad latido ha vinto il prestigioso «Premio Luces» quale Miglior Esposizione del 2020, un riconoscimento conferito dal quotidiano peruviano “El Comercio” di Lima.

BIO: NANI CÁRDENAS (Lima, 1969)Ha studiato disegno e scultura con Cristina Gálvez e si è laureata presso la Facultad de Arte de la Pontificia Universidad Católica del Perú nel 1993, con il premio per la migliore opera scultorea. Tra le sue ultime esposizioni individuali figurano: Jardín Nocturno nel CEDE (Lima, 2017), Cartografías del Naufragio nella Sala Luis Miró Quesada Garland (Lima, 2015), Picnic nella Galería Yvonne Sanguinetti (Lima, 2011), Cuaderno de Dibujo nella Galería Enlace (Lima, 2009), Cromoterapia nel Memorial de América Latina (San Paolo, 2010) ed En tránsito nella Galería Beaskoa (Barcellona, 2006). Recentemente ha partecipato a diverse mostre collettive a Lima, Londra, Santiago del Cile, Bogotá, La Paz, New York, Washington e Roma. È membro del Colectivo Andamio. Pubblicazioni: Cromoterapia (2008), Cuaderno de dibujo (2009), Picnic (2010), Nubes (2011). nanicardenas.com

ELISENDA ESTREMS (Lima, 1975) Artista visuale e coordinatrice di progetti artistici, si è laureata in Artes Visuales nella Escuela INBA La Esmeralda di Città del Messico nel 2001. Tra le sue ultime esposizioni individuali figurano: Lo vital y lo sagrado presentato nella COP21, Le 104 Cent-Quatre (Parigi) e Feria Estampa 2015, (Madrid), Porosidad y territorio nel Centro de la Imagen (Lima), Futuro Caliente / Escultura e intervención de arte colaborativo, nell’ambito della COP20; Diáspora y Retorno nella Galería Valenzuela Klenner (Bogotà), Dibujos de Héroes (Città del Messico), Ningún lugar mejor que éste, La Otra (Bogotà). www.elisendaestrems.com

 

nani Càrdenas

Elisenda Estrems

Oltre il Visibile

Oltre il Visibile

di Gryté Pintukaité

Mostra personale

Dipingi la tua vita…

Grytė Pintukaitė nasce a Kaunas, Lituania, il 16 febbraio del 1977. E’ pittrice ritrattista, membro dell’associazione artisti della Lituania e dell’associazione “La casa degli artisti” di Perugia.  Proveniente da una famiglia di artisti, la madre insegnante e poetessa ed il padre attore di teatro drammatico, sin dall’infanzia ha seguito la sua naturale inclinazione dedicandosi allo studio di varie forme d’arte, spaziando tra musica, teatro, danza e poesia, specializzandosi in particolare nelle belle arti nel corso dei suoi studi liceali. Tra il 1995 ed il 2001 ha studiato presso l’Accademia di Belle Arti di Vilnius, conseguendo la laurea e superando un master in pittura. Significativi sono stati, in questo periodo, i sei mesi di studio trascorsi in Finlandia. Negli anni si è dedicata ed ancora si dedica allo studio del “Belcanto”, dando ulteriore carattere alla propria figura artistica, dove note e colori si incontrano in una sintesi di reciproci intenti.
Sino ad ora Grytė ha organizzato trentanove mostre personali e partecipato a più di cento mostre collettive, tra cui la Biennale di Venezia nel 2011, la sesta Biennale internazionale d’arte di Pechino nel 2015, il Festival internazionale “The Third Silk Road” in Cina nel 2016 e, nel 2019, la Fiera dell’arte di Barcellona. Ha partecipato a diversi simposi internazionali ed en plein air, prendendo parte a mostre in Spagna, Italia, Finlandia, Danimarca, Bielorussia, Lettonia e Lituania. Ha inoltre organizzato diversi eventi di “artistic synthesis” (sincretismo artistico). Per quindici anni Grytė ha insegnato nozioni di belle arti e teatro. Ad oggi molte delle sue opere sono presenti nelle collezioni di musei in Cina, Lettonia e Lituania, oltre che in numerose collezioni private sparse per il mondo. Oggi Grytė vive e crea in Italia, abbracciata dalla natura della Toscana.

www.gryteinart.com

Paint and sing your life…

Gryte Pintukaite is a painter portraitist, the member of Lithuanian Artist’s Association. Now she lives and creates in Cortona, Italy.
She was born in Kaunas, Lithuania, in a family of artists: the mother was teacher and poet, the father – drama theater actor. After the studies in Art Gymnasium in Kaunas, Lithuania and in Kankaanpaa Art School in Finland, she studied painting in Vilnius Academy of Art (Lithuania) from 1995 to 2001. She also studied singing “Belcanto” wich gaves more colors and “sounds of feelings” to her painting.
Gryte organized 39 personal exhibitions.
She participated in abaut 100 group exhibitions, from which, the most important, was the Venice Biennale in Italy, the Beijing International Art Biennale, the Silk Road International Festival in China and the Art fair of 2019 in Barcelona. She participated also in many internationals Art Symposia and Plain Airs and took part in others exhibitions in Finland, Denmark, Belarus, Latvia and Lithuania. She also organized “artistic synthesis” events. For fifteen years Gryte taught knowledge of painting, drawing and teater.
Today, a lot of artworks of Gryte Pintukaite are in the collections of museums of China, Latvia, Lithuania, as well as in private collections in Florida, England, Italy, Germany, China, Finland, France, Iceland, Latvia, Russia and Lithuania.

www.gryteinart.com

Breakfast in the sky, 2018, oil on canvas, 80×60

Done, 2019, oil on canvas, 70×70

Flamenco dancer, 2017, oil, acrylic on canvas, 30×30

Hotness, 2018, oil on canvas, 60×60

Ladybug of God, 2022, acrylic oil on canvas, 60×60

Mimosa, 2019, oil on canvas,24×18

Portrait of painter Sigfrido Oliva, 2017, oil, acrylic on canvas, 60×50

Still life with mimosas, 2022, oil on canvas, 50×50

Sunflower, 2021, oil on canvas, 24×18

The beauty, 2022, acrylic oil on canvas, 60×70

The beginning, 2020, acrylic, oil on canvas, 90×100

The boy with parrot, 2016, oil on canvas, 40×40

The Gift, 2020, oil on canvas, 70×60

The lunch for two, 2018, oil on canvas, 100×100

The meating with Van Gogh. Portrait of actor Alessandro Preziosi, 2020, oil, acrylic on canvas,70×70

The poppies in sky, 2020, oil , acrylic on canvas, 50×70

The rose, 2018, oil on canvas, 24×18

Woman-Poppy, 2014, oil on canvas, 40×40

Interi: The Florence Flood Collection

THE FLORENCE FRAGMENT COLLECTION

INTERI

INTERI

The Florence Flood Collection

Jean O’Reilly Barlow

On November 4th, 1966, the city of Florence faced one of the worst floods recorded since the Renaissance. After days of severe and heavy rainfall, the Arno River flooded and submerged the Tuscan streets.

The river overflowed its banks and floodwaters swept through the streets and into thousands of shops, homes, churches, and museums. The river crested that day around noon. “There were about 225,000 gallons (852,000 liters) of water entering Florence every second with no place to go except into the city,” according to “Dark Water: Flood and Redemption in the City of Masterpieces” by Robert Clark. By that evening, the water levels had started to decrease; however, the devastation left behind was widespread. In addition to dozens of people losing their lives, a reported 20,000 people were left homeless and 10,000 cars were wrecked. Residents were without electricity, drinking water and phone service, and the streets were destroyed by the water and muck.

Il 4 novembre 1966, la città di Firenze fu colpita da una delle peggiori alluvioni mai registrate dal periodo del Rinascimento. Dopo giorni di forti e abbondanti piogge, il fiume Arno straripò e sommerse le strade toscane.

Le acque alluvionali oltrepassarono gli argini e travolsero le strade e con esse migliaia di negozi, case, chiese e musei. Quel giorno l’inondazione raggiunse il suo culmine verso mezzogiorno. “Ogni secondo entravano a Firenze circa 225.000 galloni (852.000 litri) d’acqua senza un altro posto in cui dirigersi se non in città”, scrive Robert Clark in “Dark Water: Flood and Redemption in the City of Masterpieces.” Verso sera il livello dell’acqua iniziò a scendere, ma la devastazione che l’alluvione lasciò dietro di sé fu molto estesa. Oltre alle decine di persone che persero la vita, si calcola che all’incirca 20.000 persone rimasero senza casa e 10.000 auto andarono distrutte. I cittadini rimasero senza elettricità, acqua potabile e telefono e le strade erano stravolte dall’acqua e dal fango.

This city, known for its unparalled art, history, and beauty, had been ravaged by the flood. Water and mud had poured into Florence’s museums and ancient churches, destroying irreplaceable paintings, sculptures, murals, manuscripts and other precious artifacts in the very places they were housed. The mixture of the flood waters and the ruptured heating tanks in buildings around the city caused the fuel oil to spew into the water, creating a thick muddy mess. More than 1 million volumes were waterlogged, as were numerous important records at the Biblioteca Nazionale, a public library founded in the 18th century and the state archives.

Floodwaters knocked off panels from the Florence Baptistery’s “Gates of Paradise,” – the 2,721 kilogram, 5-meter-tall gilt bronze doors designed by sculptor Lorenzo Ghiberti in the 15th century and considered a Renaissance masterpiece. At the Basilica di Santa Croce (a church and burial site of Michelangelo and Galileo, among others), a large wooden crucifix created in the 13th century by the master Italian artist Cimabue lost the majority of its original paint in the flood. Afterward, the ravaged artwork became a symbol of the toll the deluge took on Florence’s cultural heritage.

La città, famosa per la sua ineguagliabile arte, storia e bellezza, era stata devastata dall’alluvione. L’acqua e il fango si erano riversati nei musei e nelle chiese antiche di Firenze, distruggendo dipinti inimitabili, sculture, affreschi, manoscritti e altri preziosi manufatti proprio negli stessi luoghi in cui venivano custoditi. La miscela tra le acque alluvionali e il gasolio fuoriuscito a causa della rottura dei serbatoi di riscaldamento degli edifici della città creò una coltre di fango ancora più densa e distruttiva. Più di un milione di volumi vennero sommersi dall’acqua insieme a numerosi importanti documenti della Biblioteca Nazionale, istituzione pubblica che custodiva gli archivi di stato fondata nel XVIII secolo.

L’impatto dell’acqua arrivò addirittura a strappare via dal telaio sei dei dieci pannelli della “Porta del Paradiso” del Battistero di Firenze, la porta in bronzo dorato di 2.721 chilogrammi, alta 5 metri, progettata dallo scultore Lorenzo Ghiberti nel XV secolo e considerata un capolavoro del Rinascimento. Nella Basilica di Santa Croce (chiesa che ospita le spoglie di Michelangelo, Galileo e molte altre ilustri personalità), un grande crocifisso ligneo intagliato nel XIII secolo dal maestro italiano Cimabue perse la maggior parte della tinta originale a causa della catastrofe. Successivamente, tale opera d’arte devastata dal fango si è  convertita in un simbolo del tributo che l’alluvione ha imposto al patrimonio culturale di Firenze.

Upon learning about the flood, volunteers from across Italy and around the world arrived to help the city and rescue the rare books, artifacts, and art. The faithful group of volunteers we’re called “the Mud Angels.” These were young adults with no special training and were not organized, nor had they been recruited. They simply showed up. Young Europeans dropped what they were doing and boarded trains or drove south. Many had already been on the road, backpacking around Europe, and rearranged their plans to spend time to help in Tuscany. Study abroad students, specifically students from Florida State University, were a celebrated group of American volunteers who helped save many precious works of art and offered aid to the city.

Quando si diffuse la notizia della disastrosa alluvione, volontari da tutta Italia e da tutto il mondo arrivarono in soccorso della città per salvare libri rari, manufatti e opere d’arte. Questi zelanti volontari vennero ribattezzati gli “Angeli del fango”. Si trattava di giovani che, senza una particolare esperienza, poco organizzati e non previamente selezionati, si erano semplicemente messi a disposizione. I giovani europei lasciarono le proprie occupazioni, presero il primo treno e partirono verso Firenze. Molti di loro, che erano già stati, zaino in spalla, in giro per l’Europa, riorganizzarono i loro programmi per portare il proprio aiuto in Toscana. Gli studenti stranieri in Italia, in particolare quelli della Florida State University, vengono ancora ricordati come un celebre gruppo di volontari americani che contribuirono a salvare molte preziose opere d’arte e che offrirono il loro aiuto alla città.

The global efforts reached Hollywood as Franco Zeffirelli, the famous director and Florence native was working on a movie adaptation of “Taming of the Shrew” (starring Elizabeth Taylor and Richard Burton) in Rome at the time of the flood. He quickly returned to his hometown to make a documentary about the catastrophe. The film went on to reportedly earn $20 million in aid for the devastated city. Additionally, a group of American historians and other intellectuals started the Committee to Rescue Italian Art (CRIA) in order to raise funds to restore the damaged artwork and cultural artifacts.

The flood sparked significant change in the field of art preservation and helped developed new restoration techniques and standards in the years that followed. In the U.S., many national organizations subsequently were formed to help protect museums, historic sites, libraries and other cultural institutions in natural disasters and other emergencies.

Gli sforzi globali raggiunsero anche il mondo dello spettacolo: Franco Zeffirelli, il famoso regista originario di Firenze, mentre stava lavorando alla versione cinematografica della “Bisbetica domata” (con Elizabeth Taylor e Richard Burton) a Roma, al momento dell’alluvione, tornò subito nella sua città natale per girare un documentario sulla catastrofe. Si stima che il documentario abbia fruttato 20 milioni di dollari di aiuti a favore della città devastata. Inoltre, un gruppo di storici americani e di altri intellettuali ha dato vita al Committee to Rescue Italian Art (CRIA) (Comitato per il salvataggio dell’arte italiana) per raccogliere fondi per il restauro delle opere d’arte e degli artefatti culturali danneggiati. Jacqueline Kennedy fu presidentessa onoraria del gruppo, che faceva parte di un movimento di aiuto internazionale.

L’alluvione ha innescato un cambiamento significativo nel campo della conservazione dell’arte e ha contribuito a sviluppare nuove tecniche e standard di restauro negli anni successivi. Negli Stati Uniti sono nate molte organizzazioni statali per aiutare a proteggere musei, siti storici, biblioteche e altre istituzioni culturali in caso di disastri naturali e altre emergenze.

Years ago, Interi founder and creative director, Jean O’Reilly Barlow began to take interest and buy fragments found from the Florence flood out of her own fascination. She purchased them from a colleague who bought them from a wealthy Florentine man. At the time of the flood, he and his helpers took notice of the church artifacts floating through the streets and began to gather and collect as many gilded antiquities as they could. He had a place up the hill that they filled with all  of the fragments. This magazzino remained completely closed for about thirty years. About 15 years ago, they allowed only a few select antique dealers and restorers in. Within a matter of five or six years, this man’s collection had entirely depleted, and no one was able to purchase any more.

Alcuni anni fa, la fondatrice e creative director di Interi, Jean O’Reilly Barlow, ha iniziato a riporre il proprio interesse nei frammenti antichi ritrovati durante l’alluvione di Firenze riconoscendone il fascino storico-artistico. Li ha acquistati da un collega che li aveva a sua volta comprati da un ricco signore fiorentino che, all’epoca dell’alluvione, insieme ai suoi aiutanti aveva notato gli artefatti ecclesiastici che galleggiavano per le strade e aveva iniziato a raccogliere e collezionare tutti gli antichi frammenti dorati che poteva reperire. Riempì di reperti storici un’antica villa di sua proprietà sui colli fiorentini che rimase completamente chiusa al pubblico per circa trent’anni. Circa 15 anni fa, venne concesso l’ingresso solo a pochi antiquari e restauratori selezionati. Nel giro di cinque o sei anni, la collezione del ricco signore andò esaurendosi e nessuno fu più in grado di acquistare tali reperti.

After purchasing the pieces, Barlow had an idea to preserve and transform the artifacts into art. Once works of art that adorned churches throughout Florence, these fragments had been significantly distressed from the mud and water. There is still the original paint and silt left on the pieces to uphold the integrity, craftmanship, and history of sculptural fragments. The collection is proof that there is more beauty to uncover – bringing forth a new era and context of “modern mud angels.”

“Usually, a fragment has gone past restoration but, because of its age and intricate carvings, it is still a work of art. I became interested in the fragments when I saw more than the discarded artifact, but a piece that could be made beautiful again,” says Barlow.

Dopo aver acquistato i reperti, Barlow ebbe l’idea di conservarli e trasformarli in opere d’arte. Dopo aver adornato le    chiese fiorentine, i frammenti risultavano danneggiati dal fango e dall’acqua. La vernice originale e i sedimenti del fango ancora presenti su di essi testimoniano l’integrità, la maestria e la storia dei frammenti scul