Natural Expressions: Works by Alberto Cristini, Vincent Galassi and John Malveto will run from August 22 through November 23, 2014
ALBERTO CRISTINI ARTIST STATEMENT
I was born in 1960, in Rovigo – a city in the Veneto region of Italy near Venice. Even as a small child I had a passion for painting. In the late 80s, I began to work with ink and watercolors, and soon found myself experimenting in sculpture –bronze sculpture, in particular.
In the series “Bodies in Motion” I focused on an upward projection of bodies, in order to defy the heaviness of the matter. These works were displayed in Austria and Germany in the early 2000s.
Water – both from “my” Po Delta and from Venice – is a favorite subject in my paintings that have been displayed at the Italian Cultural Institutes in both London and San Francisco, and in several exhibitions in Singapore. Many of my sculptures can be found in public displays in Italy.
Recently I have been experimenting with different materials in such innovative projects as: “Blind Emotion” in which a CD player and speakers are installed on a bas-relief, in order to give the idea of music and painting joined together. In another project, “Water Frame”, I complete an oil painting of my surroundings while swimming in such bodies of waters as the New York Bay, San Francisco Bay (to Alcatraz), and Loch Ness Lake in Scotland.
In a project called “Fusion” I add texture and color to photographs which have been printed on canvas. Three of these Fusion works, for which I collaborated with photographer Dino Bonfante of Badia, Italy, will be displayed in this exhibit. Also on exhibit will be several of my watercolor and acrylic paintings as well as many of my bronze sculptures.
VINCENT GALASSI ARTIST STATEMENT
I have always enjoyed art and pursued a variety of creative media until the mid 70’s, when I started to develop a growing interest for “Black & White” photography. Over time this interest has grown to a passion which is still as strong today, as it was years ago. Recently I have started to publish my first color prints after decades of exclusive work in black and white.
Although most of my photos now can be broadly filed under different types of “Abstract – Still Life” categories, I tend to work in a series of mini-projects, where each project contains a body of work comprising of at least ten images, or more, as I like to see a connection and continuity within my work. Some projects tend to continue and expand over periods of several years, as in the “Feathers Study” and “Sea Shell” series, while others are closed out much sooner. Until recently all my fine prints have been made using the traditional negative and wet darkroom process.
I now use a hybrid process to generate my prints which still use the traditional black and white negative, but is printed on an ink-jet printer using photo quality papers and pigment-inks. Photographs start with the split second it takes for the camera shutter to permanently capture the timeless spirit of that moment. It combines the “Seeing” of the subject through the lens, with the “Vision” of the artist mind’s eye. This is the beginning of a process that has no limitations or boundaries and is open to discovery, giving free rein to the imagination to capture on print the photographer’s vision. The key is to never stop learning and to be always inquisitive and open-minded.
JOHN MALVETO ARTIST STATEMENT
My paintings presently gravitate toward a series of work involving the resilience of humanity versus nature, and their eternal conflict to co-exist harmoniously. They are autobiographical in nature, thereby enabling me the opportunity to integrate personal iconography within my compositions.
Paintings include a combination of abstract surfaces which are altered by a hard edge to create recognizable imagery with a visually energetic surface, using a contrasting field to complement explosive foreground images. A feeling of both tension and depth is achieved by using intriguing spatial relationships that convey multiple levels of awareness producing unique and thought-provoking images.
Without compromising the integrity of “Stain Painting”, I have developed a new concept in which I apply multiple stages of poured and brushed acrylic paint to numerous sheets of glass. In the meantime, I prepare a stretched canvas and on this canvas I draw a detailed composition in pencil. I then prepare a series of stencils corresponding to the shapes of the pencil-on-canvas drawing, and use them to cut out and peel off sections of the painted glass. Finally, I glue these cut-out shapes to the canvas, section by section. After a certain amount of trimming and adjusting, the result is a finished painting whose effect could not have been achieved any other way.
I call the theory behind my technique “abstract illusionist pour painting”. Selecting fantasy-oriented images, I layer positive and negative forms until they create a visually energetic surface. Crisp outlines seem to melt from the foreground into the background via the flowing pigment. This form of painting is so unusual that I know of no other contemporary artist who employs it. By utilizing this unique procedure I feel it has provided greater control of my visual expressions. In addition, this experience redefines the concept of Stain Painting.