federicocortese

An original piece from the series “Please do not kill butterflies”. Original sold. Please, all these dead animals ... Of course, not everyone of us can or want 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.

Oil on wood panel, original size 106 x 63 cm, 2015. This painting was inspired by a scene in the movie "Grand Budapest Hotel". The two protagonists are travelling on a train, crossing winter melancholic landscapes, covered by snow and with few leafless trees emerging from it. The scene gives a sense of expectation, and what is dead in it suggests a new beginning. ORIGINAL SOLD.

An original piece from the series “Please do not kill butterflies”. ORIGINAL SOLD. Please, all these dead animals ... Of course, not everyone of us can or want 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.

An original piece from the series “Please do not kill butterflies”. ORIGINAL SOLD. Please, all these dead animals ... Of course, not everyone of us can or want 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.

From the series “Please do not kill butterflies”, pins, oil and pencil on paper. ORIGINAL SOLD. Please, all these dead animals ... Of course, not everyone of us can or want 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.

An original piece from the series “Please do not kill butterflies”. ORIGINAL SOLD. Please, all these dead animals ... Of course, not everyone of us can or want 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.

An original piece from the series “Please do not kill butterflies”. ORIGINAL SOLD. Please, all these dead animals ... Of course, not everyone of us can or want 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 plexiglass? To make these drawings, no butterfly was killed.

An original piece from the series “Please do not kill butterflies”, pins, oil and pencil on paper, original sold. Please, all these dead animals ... Of course, not everyone of us can or want 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 plexiglass? To make these drawings, no butterfly was killed.

An original piece from the series “The color of memory”. ORIGINAL SOLD. These works come from some thoughts about classical sculpture. We know that the sculptures were originally colorful, and that the Egyptian, Greek, and Roman cultures, but also the pre-Columbian cultures, favored, to decorate them, very bright colors. But the passage of time has given us these sculptures predominantly white, so, from the Renaissance until today, the sculptural representation of man is almost always monochrome. And it is interesting to think that if by some historical accident, the same thing had happened with painting, today we would paint with one color, and we would find it quite natural, just as the monochrome sculptures seem entirely corre...

ORIGINAL SOLD. An original piece from the series “The color of memory”: These works come from some thoughts about classical sculpture. We know that the sculptures were originally colorful, and that the Egyptian, Greek, and Roman cultures, but also the pre-Columbian cultures, favored, to decorate them, very bright colors. But the passage of time has given us these sculptures predominantly white, so, from the Renaissance until today, the sculptural representation of man is almost always monochrome. And it is interesting to think that if by some historical accident, the same thing had happened with painting, today we would paint with one color, and we would find it quite natural, just as the monochrome sculptures seem entirely corre...

An original piece from the series “The color of memory”. ORIGINAL PAINTING SOLD. These works come from some thoughts about classical sculpture. We know that the sculptures were originally colorful, and that the Egyptian, Greek, and Roman cultures, but also the pre-Columbian cultures, favored, to decorate them, very bright colors. But the passage of time has given us these sculptures predominantly white, so, from the Renaissance until today, the sculptural representation of man is almost always monochrome. And it is interesting to think that if by some historical accident, the same thing had happened with painting, today we would paint with one color, and we would find it quite natural, just as the monochrome sculptures seem entir...

From the series “The color of memory”, oil on paper, 35 x 35 cm. These works come from some thoughts about classical sculpture. We know that the sculptures were originally colorful, and that the Egyptian, Greek, and Roman cultures, but also the pre-Columbian cultures, favored, to decorate them, very bright colors. But the passage of time has given us these sculptures predominantly white, so, from the Renaissance until today, the sculptural representation of man is almost always monochrome. And it is interesting to think that if by some historical accident, the same thing had happened with painting, today we would paint with one color, and we would find it quite natural, just as the monochrome sculptures seem entirely correct. Obv...

From the series “The color of memory”, oil on paper: These works come from some thoughts about classical sculpture. We know that the sculptures were originally colorful, and that the Egyptian, Greek, and Roman cultures, but also the pre-Columbian cultures, favored, to decorate them, very bright colors. But the passage of time has given us these sculptures predominantly white, so, from the Renaissance until today, the sculptural representation of man is almost always monochrome. And it is interesting to think that if by some historical accident, the same thing had happened with painting, today we would paint with one color, and we would find it quite natural, just as the monochrome sculptures seem entirely correct. Obviously this ...

From the series “The color of memory”, oil on paper, original size 35 x 35 cm. These works come from some thoughts about classical sculpture. We know that the sculptures were originally colorful, and that the Egyptian, Greek, and Roman cultures, but also the pre-Columbian cultures, favored, to decorate them, very bright colors. But the passage of time has given us these sculptures predominantly white, so, from the Renaissance until today, the sculptural representation of man is almost always monochrome. And it is interesting to think that if by some historical accident, the same thing had happened with painting, today we would paint with one color, and we would find it quite natural, just as the monochrome sculptures seem entirel...

Oil on paper. A series of abstract psychedelic small paintings

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.

Colorful psychedelic shapes, curves and spirals!

From the series “Chinese dragons”, oil and pencil on paper. Original size: 46 x 46 cm. In Eastern culture the dragon is a symbol of power, the roofs of the imperial residences are decorated with this mythological figure as a sign of protection and luck. In the traditional Catholic iconography the dragon is an incarnation of the devil, so that only the sword of a saint can suppress it. In my drawings this mythological figure becomes a middle ground between these two opposing visions, an elusive but fascinating animal, with malice in his eyes that could become evil. In these works I use uniform bright coloring and backgrounds turned on light or white, to simulate the color of lacquers or enamels in the decoration of porcelain. My orig...

From the series “Black crows”, graphite on paper. original size: 50 x 38 cm. 2005. In some drawings made with the only use of the pencil, when the artist is able at creating the illusion of soft shadows, nuances of color, fadings, and an infinity of shades of gray, the drawing is enriched with a kind of sensuality, a subtle sense of eroticism. The viewer experiences this sensuality, when he observes the drawing, as well as the artist, when he makes it. In this series of drawings the subject chosen is a mere pretext to practice this strange alchemy. These works are a sort of declaration of love and servitude to this instrument of representation. www.saatchiart.com/ico71

From the series “The measurement of space”, oil and pencil on paper, original size: 54 x 42 cm. www.saatchiart.com/ico71

From the series “Small things”. Oil, pencil and charcoal on paper. Original sold. 30 x 30 cm. 2012.

From the series “In the absence of God”, oil and pencil on paper, 28 x 40 cm, 2014. Original sold.

From the series “Please do not kill butterflies”, pins, oil and pencil on paper, original size: 331 x 22 cm, 2014. Please, all these dead animals ... Of course, not everyone of us can or want 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 plexiglass? To make these drawings, no butterfly was killed. Original available for sale. www.saatchiart.com/ico71

from the series “China’s drops”, oil and pencil on paper, 24 x 24 cm. 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. Original available for sale. www.saatchiart.com/ico71

from the series “China’s drops”, oil and pencil on paper, 2original size: 4 x 24 cm, 2002. 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. Original available for sale. www.saatchiart.com/ico71

from the series “Houses on the water”, oil on paper, 2016. ORIGINAL SOLD. When, in my holidays, I go to visit a seaside town or a river town, it often happens that I am involved into the classic tourist trip on the boat, or vessel. Such an experience, by definition, is a little superficial: the distance from the coast, the movement, the limited time, all these elements combined together make the perception confused. But at the same time, perhaps for the fact that the focus can not dwell deeply on anything specific, the end of this experience gives a reminder of the whole, that could reveal the spirit of that place. It 's true, the details are confused, the facades of the buildings overlap, we are no longer sure if the front of t...

from the series “Houses on the water” : When, in my holidays, I go to visit a seaside town or a river town, it often happens that I am involved into the classic tourist trip on the boat, or vessel. Such an experience, by definition, is a little superficial: the distance from the coast, the movement, the limited time, all these elements combined together make the perception confused. But at the same time, perhaps for the fact that the focus can not dwell deeply on anything specific, the end of this experience gives a reminder of the whole, that could reveal the spirit of that place. It 's true, the details are confused, the facades of the buildings overlap, we are no longer sure if the front of that palace was on the Grand Canal o...

From the series “Code”: A map is an imprint, a sign of man in the landscape. An alien intelligence, observing our cities from the great distances of the space, could interpret them as the characters of an alphabet, sort of messages, a code of signs, each one different from the other, each with its own meaning and its own syntax. This hypothetical alien presence may not even realize that these cities have a purpose and a function, which are the product of the way we have adapted to live on this planet, but it could engage in an attempt to interpret this unknown language, identifying the alphabet and associating to each character a precise meaning. We will still be able to understand and share this new meanings, or will they have l...

From the series “Code”, oil on paper, original size 50 x 28 cm, 2016. A map is an imprint, a sign of man in the landscape. An alien intelligence, observing our cities from the great distances of the space, could interpret them as the characters of an alphabet, sort of messages, a code of signs, each one different from the other, each with its own meaning and its own syntax. This hypothetical alien presence may not even realize that these cities have a purpose and a function, which are the product of the way we have adapted to live on this planet, but it could engage in an attempt to interpret this unknown language, identifying the alphabet and associating to each character a precise meaning. We will still be able to understand a...

From the series “Code”, oil and graphite pencil on paper, original size 28 x 50 cm, 2016. A map is an imprint, a sign of man in the landscape. An alien intelligence, observing our cities from the great distances of the space, could interpret them as the characters of an alphabet, sort of messages, a code of signs, each one different from the other, each with its own meaning and its own syntax. This hypothetical alien presence may not even realize that these cities have a purpose and a function, which are the product of the way we have adapted to live on this planet, but it could engage in an attempt to interpret this unknown language, identifying the alphabet and associating to each character a precise meaning. We will still be ...

From the series “Please do not kill butterflies”, ORIGINAL SOLD. Please, all these dead animals ... Of course, not everyone of us can or want 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 plexiglass? To make these drawings, no butterfly was killed.

From the series “Please do not kill butterflies”: Please, all these dead animals ... Of course, not everyone of us can or want 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 plexiglass? To make these drawings, no butterfly was killed.

From the series “Please do not kill butterflies”, pins, oil and pencil on paper, ORIGINAL ARTWORK SOLD. Please, all these dead animals ... Of course, not everyone of us can or want 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 plexiglass? To make these drawings, no butterfly was killed.

From the series “Please do not kill butterflies (ORIGINAL SOLD). Please, all these dead animals ... Of course, not everyone of us can or want 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 plexiglass? To make these drawings, no butterfly was killed. Original available for sale: http://www.artpal.com/cortesefederico/?i=19858-53

From the series “Please do not kill butterflies”: Please, all these dead animals ... Of course, not everyone of us can or want 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 plexiglass? To make these drawings, no butterfly was killed. ORIGINAL ARTWORK SOLD.