federicocortese

Pins, oil and pencil on paper, 2015

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”: 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”, 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”, pins, oil and pencil on paper. 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.

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”. 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”: 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.

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. But it is a small difference, and ...

ORIGINAL ARTWORK SOLD. This series of paintings was inspired by the metaphysical landscapes of De Chirico. I have always been fascinated by their clear vision of the architecture, with the precise design of the shadows, almost anticipating the modern use of three-dimensional modeling software. In the way I feel, however, more introverted and almost unsociable, the outer space is transformed into a closed one, private and protected, from which the human presence is totally gone away. In those rooms then, it may happen that some strange objects and some unexpected decorations appear, suggesting that the person who lives there has overcome the lack of relationship to the outside world with the richness and complexity of his inner world.

From the series “The color of memory”, oil on paper, original size 35 x 35 cm, 2016. 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 e...

From the series “The color of memory”, oil on paper, original size 35 x 35 cm, 2016. 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 sc...

From the series “The color of memory”, oil on paper, original size 35 x 35 cm, 2016. 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 e...

From the series “Please do not kill butterflies”, pins, oil and pencil on paper, original size 30 x 26 cm, 2016.

From the series “Please do not kill butterflies”, pins, oil and pencil on paper, original size 25 x 25 cm, 2016. 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.saatchiart.com...

From the series “Please do not kill butterflies”, pins, oil and pencil on paper. Original available for sale. www.saatchiart.com/ico71

ORIGINAL ARTWORK SOLD. 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 lost ...

From the series “Code”, oil and graphite pencil on paper, 30 x 30 cm. ORIGINAL SOLD 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 t...

ORIGINAL ARTWORK SOLD. From the series “Code”, oil and graphite pencil on paper, 30 x 30 cm. 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

From the series “Code”, oil and graphite pencil on paper, original size 30 x 30 cm. 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 t...

ORIGINAL SOLD - From the series “Code”, oil and graphite pencil on paper, 30 x 30 cm. 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...

From the series “Code”, oil and graphite pencil on paper, 30 x 30 cm, 2003. ORIGINAL SOLD 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 b...

oil, graphite and cotton thread on paper. Original size: 21 x 15 cm, 2015.Original artwork sold.

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 “Ancient beasts”, oil and pencil on paper. Original size: 30 x 21 cm. The medieval illustrators represented animals that they had never seen, described by others, or derived from mythology. This generated monstrous creatures. From here comes the idea of a common set of animals, which are deformed with the help of redundant decorative codes. To simulate the ancient miniatures, I use ink and uniform color areas. My original artworks are also available for sale at the following link: www.saatchiart.com/ico71

From the series “Black crows”, graphite on paper. original size: 50 x 38 cm. 2006. 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 “Ancient beasts”, oil and pencil on paper. Original size: 30 x 21 cm. The medieval illustrators represented animals that they had never seen, described by others, or derived from mythology. This generated monstrous creatures. From here comes the idea of a common set of animals, which are deformed with the help of redundant decorative codes. To simulate the ancient miniatures, I use ink and uniform color areas. My original artworks are also available for sale at the following link: 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 size> 30 x 30 cm. 2012. 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 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 useles...

From the series “Please do not kill butterflies”, pins, oil and pencil on paper. 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. NOTE: in case of sale of this artwork the pins that are fixed on it will be set apart, just to avoid possibl...

From the series “In the absence of God”, oil and pencil on paper, 28 x 40 cm. The medieval illustrators represented animals that they had never seen, described by others, or derived from mythology. This generated monstrous creatures. From here comes the idea of a common set of animals, which are deformed with the help of redundant decorative codes. These artworks are made on paper overlaying subsequent layers of oil painting and pencil drawing (I often use graphite not only to emphasize the traits but as a colour itself, to fill and darken entire areas of the drawing).

from the series “China’s drops”, oil and pencil on paper, original size: 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

Please do not kill butterflies!