Landscapes

Landscapes
Landscapes
Landscapes
Landscapes

Landscapes

While wondering on the value and origin of the most intimate aspects of memory, Canevari develops his own personal language where symbols, pop culture, historical knowledge and politics are intertwined in a new interpretation of daily life. Canevari uses different media and materials, from sculptures to installations, from drawings to video. On view, his latest works made with exhausted motor oil.

Paolo Canevari, Landscapes, installation view

Landscapes includes works from Canevari’s latest series: Monuments of the Memory – Landscapes, 2020 and Stains, 2020. This works, burned engine oil on paper, are based on the use of a material as a starting point for the interpretation of the work. The waste oil from the car engine, the quintessence of pollution, becomes by osmosis stains and landscapes on initial and final blank pages of old books, sheets and prints recovered by the artist. Dropping or spreading them with burnt industral oil, used as a real color or ink, to create hilly landscapes and suggestic cosmic visions, black holes and dark materials. Canevari’s reflection on pollution, in a very broad sense, appears inevitably. The pollution of nature but also that of news and minds. The stain that slowly covers our life and pollutes our daily lives.
In addition to his latest productions, the exhibition presents works
ranging from the early 1990s until more recently. The recovery of iconic forms, inspired by classical art history is a prerogative of the Italian artist, who expresses the richness of the past while at the same time he embodies its cultural and artistic burden, a sort of mnemonic horizon without boundaries. Within Paolo Canevari’s artworks, it is evident how the ties with artistic tradition and human history are inextricable and enduring. The use of different raw materials combined with poetic concepts, creates a profound dialectic between idea and form, heaviness and lightness, solidity and docility, tangibility and ephemerality and the symbols of our society are forever bound in a radical opposition of forces.

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