federicocortese

Some concentric circles are superimposed over a very simple geometric pattern that resembles a city map, recalling the idea of an explosion. From the intersection of the two overlapped geometries, decorative forms are born, and somehow they dampen that suggestion of violence and destruction. The explosion thus is crystallized, becoming one with the surrounding elements and sharing their fragility.

Some concentric circles are superimposed over a very simple geometric pattern that resembles a city map, recalling the idea of an explosion. From the intersection of the two overlapped geometries, decorative forms are born, and somehow they dampen that suggestion of violence and destruction. The explosion thus is crystallized, becoming one with the surrounding elements and sharing their fragility.

Interior view, oil on canvas, 2021. Original sold.

Abstract composition, oil on cardboard, 2021.

Imaginary urban view, oil on canvas, 2020. Original sold.

Surreal imaginary animals.

From a series of surreal fantastic animals. Original painting sold.

Imaginary landscape, oil on thick paper. Original sold.

Abstract geometric composition. Oil on thick paper. ORIGINAL SOLD.

An original piece from the series “Chromatic”, oil on thick paper. Original size 18 x 30 cm, 2020. ORIGINAL SOLD.

An original piece from the series “Blast”, oil on thick paper, 44 x 44 cm, 2020. Some concentric circles are superimposed over a very simple geometric pattern that resembles a city map, recalling the idea of an explosion. From the intersection of the two overlapped geometries, decorative forms are born, and somehow they dampen that suggestion of violence and destruction. The explosion thus is crystallized, becoming one with the surrounding elements and sharing their fragility.

An original piece from the series “Blast”, oil on thick paper, 44 x 44 cm, 2020. Original sold. Some concentric circles are superimposed over a very simple geometric pattern that resembles a city map, recalling the idea of an explosion. From the intersection of the two overlapped geometries, decorative forms are born, and somehow they dampen that suggestion of violence and destruction. The explosion thus is crystallized, becoming one with the surrounding elements and sharing their fragility.

A simple geometric structure made by two or three series of parallel lines generates the idea of a city seen from above or from afar, an urban landscape that is at times clear and at times indefinite, where some buildings emerge with precision while others remain uncertain, thanks to the decorative elements, and where sometimes it is barely impossible to understand that these are houses. The addition of shadows doesn’t add thickness and a sense of depth, but creates the effect of a homogeneous texture, as if this was a rich embroidered fabric. Finally, the title suggests the idea that a simplified form of representation could be invented, capable of representing each city with a few geometric elements, as in a sort of diagram.

From a series of imaginary landscapes. Oil on paper.

A simple geometric structure made by two or three series of parallel lines generates the idea of a city seen from above or from afar, an urban landscape that is at times clear and at times indefinite, where some buildings emerge with precision while others remain uncertain, thanks to the decorative elements, and where sometimes it is barely impossible to understand that these are houses. The addition of shadows doesn’t add thickness and a sense of depth, but creates the effect of a homogeneous texture, as if this was a rich embroidered fabric. Finally, the title suggests the idea that a simplified form of representation could be invented, capable of representing each city with a few geometric elements, as in a sort of diagram.

I like to create imaginary worlds. Using the modeling software I invent virtual simplified realities, probably the result of travel memories and past experiences. I choose the types of buildings, I place them on a fictitious ground, check the colors to the various parts, the lights, the elements of the landscape. And then I choose a point of view and portray this place of fantasy. The traditional landscape painting has to deal with the atmospheric variables, with the mutability of natural light. Here, on the contrary, not only everything is static, but I can change the various elements at will: add or remove pieces, move something, try the effects of shadows depending on the movement of the lights.

From a series of fantastic butterflies and moths

From the series “Virtual model”, oil on canvas, 50 x 50 cm, 2020.

From a series of organic abstract compositions.

Colorful abstract composition, oil on paper. Original painting sold.

from a series of imaginary landscapes.

From the series “Virtual model”, oil on paper, original painting sold.

From a series of fantastic imaginary butterflies and moths. Original sold.

From a series of imaginary weird animals. Original sold.

From a series of weird imaginary butterflies and other animals. Original painting sold.

from a series of weird fantastic butterflies and moths.

ORIGINAL SOLD. When I was a kid I went crazy for these small encyclopedias for children, where all the animal species were cataloged, and were represented with drawings rather than with images. Those drawings, although very detailed, left much to the imagination. It was as if some white space at the edges of the image were put there on purpose, to allow the viewer to complete, with the imagination, the work of describing that animal. Perhaps it is from this childhood passion that comes to me a certain obsession for animals, and a vice that leads me, starting from a detail or from a certain peculiarity, to exaggerate, to overstate the decorations and the colors, to allow the polyps to emit colored and psychedelic inks.

If you try to drip a drop of ink on a wet surface you can observe that it doesn’t spread evenly, diluting in water, but expands in a sudden and irregular way, causing streaks and branches that are oriented on the surface on the basis of the obstacles or impurities encountered, perhaps invisible. This generates a rich arabesque, a pure decoration that can vary from time to time, and that expands until it fills the entire surface.f

Fom the series “Zi hua”, pencil on paper, 30 x 40 cm. I wanted to learn to write Chinese characters, but I've lost control! I have always been fascinated by the art of ideograms, and when I was in China I spent hours and hours, enchanted to observe people trying to dip the brush into water, and to draw on the ground ephemeral signs intended to evaporate, with controlled and sensual movements. But my nature is baroque! The gesture that I started cannot be stopped, the hand begins to draw on the paper some convolutions, scrolls and doodles, at first timid, but soon prevailing over the same character and its meaning! And the gesture that remains, even if free and decorative, is extremely rewarding for me!

An original piece from the series “Zi hua”: I wanted to learn to write Chinese characters, but I've lost control! I have always been fascinated by the art of ideograms, and when I was in China I spent hours and hours, enchanted to observe people trying to dip the brush into water, and to draw on the ground ephemeral signs intended to evaporate, with controlled and sensual movements. But my nature is baroque! The gesture that I started cannot be stopped, the hand begins to draw on the paper some convolutions, scrolls and doodles, at first timid, but soon prevailing over the same character and its meaning! And the gesture that remains, even if free and decorative, is extremely rewarding for me!

An original piece from the series “Zi hua”: I wanted to learn to write Chinese characters, but I've lost control! I have always been fascinated by the art of ideograms, and when I was in China I spent hours and hours, enchanted to observe people trying to dip the brush into water, and to draw on the ground ephemeral signs intended to evaporate, with controlled and sensual movements. But my nature is baroque! The gesture that I started cannot be stopped, the hand begins to draw on the paper some convolutions, scrolls and doodles, at first timid, but soon prevailing over the same character and its meaning! And the gesture that remains, even if free and decorative, is extremely rewarding for me!

Franz Kafka never moved from his Prague. For the setting of his novel "Amerika", he probably used the notions that he took from the newspapers and from his literary knowledge. Then he filled the gaps left by that information with his imagination, inventing a really comprehensive and credible setting. Today he wouldn’t have this problem, because the network provides us with detailed and substantial information on anything. Universal knowledge is available to all. And everyone, sooner or later run into the same two problems: this information is too much, we do not need it! (till the point that often we remain submerged and we do not know anymore what we were looking for). And then, how do we verify its authenticity? The virtual reproduction

An original piece from the series “Small things”: My house is full of little things. An infinity of unnecessary items accumulated over the years, that stay there, without a reason and without a purpose. Sometimes I do not even remember where they come from, where I bought them, or who has donated them to me. But now they have achieved a small space, a place above a cabinet, inside a drawer, on a library shelf, or hidden at the bottom of a closet, and they defend that place fiercely, stubbornly. They don’t want to leave, claiming their right to survive, pretending that I feel an affection for them, a bond that simply doesn’t exist. I avenge with these portraits, which reveal their uselessness,

In the museum of criminology in Turin are kept the drawings made by people who were once imprisoned in mental hospitals. Often in these drawings appears a chilling pattern made of geometries and symmetries, a sort of cage or prison made ​​of dense colored lines, arranged strictly within a rigid structure of compositional rules. It 's a bit like if those people were not only locked up against their will, but perceived in their head and their thoughts another prison, another cage, and with these drawings were able to represent it, with a dense overwhelming decoration. The affinity of these works with Buddhist mandalas is curious. In one case we associate these works with the idea of ​​meditation and stillness, in the other we are dealing wit

An original piece from the series “Tetris”, oil and pencil on paper, 32 x 40 cm, 2010. In the popular video game Tetris, pieces of various shapes slowly come down from above. The aim of the game is to be able to stick them in as they fall, avoiding the creation of voids. The making of a line devoid of interruptions will allow the disappearance of all the elements that compose it and the continuation of the game. But little by little the pieces accumulate, the thinking time is reduced and the stress increases, until a final piece arrives to occupy the space available above, and the game ends.

An original piece from the series “Please do not kill butterflies”: Please, all these dead animals ... Of course, not every one of us can or want to become vegetarian. Sure, in some cases, maybe, the medical experimentation needs them to get results. But we really have to kill them for our frivolous activities? ... Is it necessary to have so many pink pigs die in front of a camera? Do we really need to dissect sharks in formaldehyde, to starve stray dogs tied to a chain in the corner of a gallery, or to make innocent ants go crazy in twisted tubes of plexiglas? To make these drawings, no butterfly was killed.