Metaphysical painting has been defined that one of Zilioli, that remember images that come from the memory and from unconscious but also the painting that constructs with knowledge the event, the travel towards a territory of perfection that does not belong of sure to this world (M. Pepe).
I was born in ' 53, in Turin (Italy), but I consider myself an Italian stateless person. At the age of 19 years I take the sea, beginning to furrow the blue of the world with the uniform of official of the Italian merchant marine, and under - activity, amatorial and not, like astrologer, painter, musician; for last the activity of goldsmith with which I stop sailing the seas of the world, I'm 40. In the ' 99 I take artistic diploma to the L.S. " P. Klee ", one beautiful experience, enriching. 2002 course of screenplay and cinematographic direction analysis in Genoa. Currently I have a employment that concurs me to survive, with the rest I live.
SFEROpatia is the title it of the interesting exhibition of Massimo D. Zilioli, that it exposes two of its main lines of search, between they differentiated and at the same time joined from the curvilinear construction of the space. In the spheroidal space, as the same author asserts, there are advantages for one tied physical and oniric show to the maxim movement, the closing and to the attainment of the perfection, with with the possibility to withdraw on if same and the own memory. In the half-physical rooms (you see # the 12) variety of perspectives contributes to render the perception of the inner ones psychological: the pavement is dilated and the light that overflows it illuminates mysterious objects fortified of hangs to us organic, like the tables supported from human legs or the robots that show an erection. Is like if the room conserved the human presences that have live in and transformed in the objects that have testified them (The biological half and the physical half). They are, in fact, the rooms of the sedimented-memory that Zilioli door to the visible surface and make with an operation assimilated from Klee and interpreted with solutions originates them of dense pictorical medium. The rooms floods of objects coming from from the daily life and tranformed in organic traces from the cover of the color. The mystery of the threshold is not realized rendering dark the escape, but to the contrary, loading of intense brightness the entrance that becomes al time same source of light and opening on a unknown space, lived from blinding presences too much strong to be perceived without ambiguity.
Massimo D. Zilioli
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