“LIKE A SEA OF GLASS MIXED WITH FIRE” – A DECOMPOSED PUBLICITY POSTER – LACER/ACTIONS POSTCARDS # 19

By Roberto Alborghetti - Canvas - 2011

By Roberto Alborghetti – Canvas – 2011

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“I SAW SOMETHING LIKE A SEA

OF GLASS MIXED WITH FIRE”

2011

CANVAS/MIXED MEDIA

63,5X40,5

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This image  (title from “Apocalypse” of John) is displayed at Roberto Alborghetti Show (“Colors of an Apocalypse: An Intrigue for the Eyes and Mind from the Decomposed Publicity Posters”) which is taking place at Aldobrandesca Fortress (XIII Century) in Tuscany (Piancastagnaio, Siena, Italy); the show has been extended till January 15, 2013.

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Roberto Alborghetti ‘s LaceR/Actions is a multidisciplinary project and research about the apparent chaos of ripped and decomposed posters and street tokens and graffiti. 

Transferred on canvas, reproduced on lithographs or textiles (as pure silk), or scanned in videoclips, the details of torn posters give new life to paper lacerations and decomposition, as you may see in this “postcard” reproducing one of the 40.000 images captured by Roberto Alborghetti during his research all around the world.

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MY PAPER SKY… FROM A DECOMPOSED PUBLICITY POSTER – LACER/ACTIONS POSTCARDS # 11

ROBERTO ALBORGHETTI “LACER/ACTIONS” ART – IMAGES OF TORN AND DECOMPOSED PUBLICITY POSTERS – “PAPER SKY”

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“Paper Sky”

Realistic and not manipulated image

LaceR/Actions Project

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Roberto Alborghetti ‘s LaceR/Actions is a multidisciplinary project and research about the apparent chaos of ripped and decomposed posters and urban/street signs.

Transferred on canvas, reproduced on lithographs or textiles (as pure silk), or scanned in videoclips, the details of torn posters give new life to paper lacerations and decomposition, as you may see in this “postcard” reproducing one of the 40.000 images captured by Roberto Alborghetti during his research all around the world.

His next big show (“Colors of an Apocalypse: An Intrigue for the Eyes and Mind from the Decomposed Publicity Posters”) will take place at Aldobrandesca Fortress (XIII Century) in Tuscany, from October 6 to November 4, 2012 .

IT’S RAINING OLYMPIC COLORS! DID SOMEONE SHATTER THE 5 CIRCLES? DON’T BOTHER ABOUT IT: IT’S JUST AN ARTPIECE FROM TORN POSTERS…

IT’S RAINING OLYMPIC COLORS! ROBERTO ALBORGHETTI LACER-ACTIONS FOR 2012 LONDON OLYMPIC GAMES

Blue, Black, Red, Yellow and Green: five colors representing our Continents. Five colors we find in the five circles of the historic Olympiad logo. The 2012 London Olympic Games suggested me to toy with my “Lacer/actions” artpieces, realistic and not manipulated images of torn and decomposed posters. In my collection  – more than 40.000 images – I found interesting and particular works, as the piece I show here…

There’re no circles and no official logo, but the 5 colors movement is so funny and amazing… Yes, it’s raining Olympic Games colors! Someone shattered the circles and the colors are now able to move everywhere, to fall and to go up… A metaphore about humanity profound hopes and desires of freedom?          

ABOUT 2012 OLYMPIC GAMES

The 2012 Olympic Games will take place in a host of new venues as well as using existing and historic facilities. Many of the new facilities will be reused and the plans are part of the regeneration of Stratford and Lower Lea Valley in East London.

The 2012 Summer Olympic Games will be held in London from tomorrow, July 27, to August 12, followed by the 2012 Para Olympic Games from August 29 to September 9. At the opening Ceremony around 100.000 people will be working on the Games – including 3.000 staff, up to 70.000 volunteers and a large number of contractors. The London 2012 Olympic logo has created considerable controversy and the spiralling cost of the Games is likely to be an ongoing problem…

London has hosted the Olympic Games on other two past occasions, in 1908 and 1948. The 2012 Olympics will make London the first city to have hosted the modern Games of three Olimpiads.

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TALKIN’ TO MY BRAIN IN POSITIVE – LACER/ACTIONS POSTCARDS # 3

LACER/ACTIONS POSTCARDS – BY ROBERTO ALBORGHETTI

Images of Torn (publi)City

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TALKIN’ TO MY BRAIN IN POSITIVE

Roberto Alborghetti ‘s LaceR/Actions is a multidisciplinary project and research about urban signs, especially concerning the apparent chaos of ripped posters and urban signs.

Transferred on canvas, reproduced on lithographs or textiles (as pure silk), or scanned in videoclips, the details of torn posters give new life to paper lacerations, as you may see in this “postcard”, inspired by Srini Pillay’s words from his book “The Science Behind The Law Of Attraction”.

SIGNS FROM NOWHERE: WELCOME TO CITIES OF GHOSTS…

 

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Some years ago someone told me that my “Lacer/actions” artworks – images of torn poster and urban signs – are a sort of evolutional forms by which some unidentified and indefinite entities try to communicate with us… At first I smiled hearing this comment.

Now – after having “captured” strange and unusual images in thousands – I’m not so worried thinking about the idea that those abstruse and abstract signs taken from cities walls could be some intriguing dimension of perception (or a new form of communication from Nowhere…)

So, let ‘s have a look (without prejudices or mental barriers) to this slideshow… They are realistic images, not manipulated or digitally enhanced. I captured them on the cities walls around the world. And welcome to my Cities of Signs: Cities of Ghosts, Cities of Lacer/actions…

P.S. During this week I’ll be on travel through Holland and Italy. So I take a break in bloggin’, but not in capturing… ghosts traces on the cities walls.

 

© Roberto Alborghetti

   

 

« LE JET DE MON SANG CLAIR »: PURUSHA HONTOY POEMS AND ROBERTO ALBORGHETTI ART #3

Poème: PURUSHA HONTOY

Artwork: ROBERTO ALBORGHETTI

Lacer/actions – Images Of Torn (publi)City

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LE JET DE MON SANG CLAIR

(My Clear Blood’s Jet)

 

 

L’effroyable atteint  l’infortune

La souffrance altère toutes les choses

 

J’ai mal

 

Le cœur se déchire

Le jet de mon sang clair

Nourrit le parchemin de ma mission

 

Vibrez

 

Aurons-nous la chance d’éjaculer

Notre libre arbitre

 

Nos choix 

 

Hommes natures  écoutez- moi

 

Dans la couleur projetée

 

Se tient l’anneau  promesse

D’une vie  nouvelle

 

 

Je l’ai peint  avec amour immense de  toute mon âme  au sang  clair

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© Poem Copyright Purusha Hontoy

© Artwork Copyright Roberto Alborghetti

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ABOUT PURUSHA

Purusha Hontoy est une amie des arts de la vie.

Diretrice et Formatrice chez l’Ecole l’Art de Vivre.

GALERIE PURUSHA (QUEBEC, CANADA)

PURUSHA HONTOY (AT LINKEDIN)

JONATHAN E. RADDATZ ART: “EMPHASIZING THE SYMBOLIC”

 

I had the way to approach Jonathan Raddatz Art. He’s an artist living in Quebec (Canada). Through web we had interesting ideas exchanges about art and its future (some suggestions will be the arguments for one of my next posts). Jonathan loves to paint as self-expression. His aims “are anchored in a desire to work out theological and philosophical concerns in peace and quiet, away from the mindless consumption and selfish concerns that consume us all on a daily basis”. I invite you to have a look at his artgallery in Verdun-Montreal (Quebec, Canada) and at his web GALERIE EX-NIHILO: you’ll be struck by a talented artist who tells us the power, the energy and the mystery of colors and materials. I’ve asked Jonathan Raddatz to write something about his artistic statement. He send me an articulated and profound reflection that I’m very glad to share here.    

Faith and Myth are the key operative terms that fuel my work”

 by Jonathan E. Raddatz

TOURIST BROCHURE

There is a facet of my art that can safely be qualified as ‘Expressionist Realism’ (landscapes, cityscapes from my corner or the world and so forth). This work is all about technical rigor and self-discipline. It is about taming the beast and conscientiously applying myself to duplicating what I see concretely before my eyes. When I work in this fashion, I will often carve out the lines in my motif, while stressing the surface with fire and grindstone; this is why I gravitate to wood as a surface medium for these pieces. I have a great affection for two places in particular, and these

are the primary subjects for what I like to call my moments of relative composure: My neighborhood, St-Henri, for its history, the riot of colours, because everything sags and because the light here reverberates in a very particular way; and Parry Sound, Ontario, where the Canadian Shield crashes into the Georgian Bay and where I spent many happy moments as a child. These are all places where the rhythm of the land…our land, strikes a deep spiritual chord with me. This work is largely free of intellectual baggage in the sense that the whole process exists to ‘take a holiday’ from my brain. When I paint ‘the little things’, it is usually to come up for air, to breathe life and clarity into my lungs and convey singular instants of beauty, often found in the mundane.

 TRAVELER ITINERARY

Today’s deconstructionists propose that all categories of art are arbitrary and sight is a pleasure. If this is true then art should break the rules of this most unfortunate modern convention of ‘super flat’ sensory indulgence by exploring, in pragmatic terms, the predatory nature of the senses and how these are linked to the ‘human condition’, which we might as well come right out and qualify as the ‘despotic condition’.

Now, while our pseudo-egalitarian civilization insists that all art is meaningful (the meaning being: here is someone articulating his/her existence), I argue that only art that successfully conveys its meaning – that is to say, the motive BEHIND asserting ones existence in this manner – is (in my less than humble view) – valid (or ‘true’) art, as art of this nature is, by definition, about marrying function to aesthetic in order to tap into a meaning that points beyond itself. That is why ‘true’ art is not to be confused with ‘decorative’ art. The first points beyond itself and is more akin to the workings of religion and philosophy, the other is purely functional: to please, soothe, or clutter the senses. This statement is not meant to devalue decorative art (at any rate, in art, there is always a carry-over) but rather to make a distinction between painting the subject versus painting what lies beyond the subject.

Thus, my ‘true’ artistic enterprise is not to be contained or otherwise pigeon-holed by relativist labels such as ‘abstract’ or ‘contemporary neo-symbolism’ or other such nonsensical terms that seek to rationalize that which does not seek to be experienced in a rational manner. Nor is this enterprise going to satisfy itself by becoming predictable in technique and style. I leave that to the post-Warhol stylists. The name of my game is SUBJECT MATTER.

 To quote Rothko directly: ‘there is no such thing as a good painting about nothing. We assert that subject is crucial and only that subject matter which is tragic and timeless is valid. That is why we profess a spiritual kinship with primitive and archaic art.’ My abstract (or otherwise metaphorical) art is profoundly anti-rational. This is fitting since good art, like good propaganda, is precisely that because it circumvents reason completely. The only rational act I imbibe in my pieces is the act of giving them a title, which is done before the business of painting and after much contemplation in regards to the piece about to be painted.

 Faith and Myth are the key operative terms that fuel my work. Any talk of faith must abandon all pretence of objectivity, which makes art a useful vehicle to explore these questions, as art, while pretending to be a lot of things, at least does not pretend to be objective. Anything objective processed by humans ceases to be such the moment we contemplate it, and this is most likely due to our inherently dualistic nature, which is understood to be fallible in every sense of the term. Hence, notions of human depravity, faith and salvation can only be discussed subjectively while remaining objective concepts in and of themselves. Their truth permeates human existence but is often ungraspable by the temporal senses and even less so by language, with all it’s cultural bias. And so, we are left with symbols, which defy logic and transcend reason by their ability to sustain paradox; this is why my art emphasizes the symbolic. Faith is a mythical language, expressing ideas that defy scientific materialism.

Although abstract, symbols are the Rosetta Stone of faith. Through this endeavour I am sharing an irrational reality felt most keenly during the creative process. This grand realm is made of a mythical causality of numinous yet fleshy themes that fully transcend moral and scientific relativism. I’m talking here about theodicy, defilement and variants on sacrifice. This mythical causality is what Rothko refers to when he speaks of timeless tragedy as the agent that binds humans to their cause and condition. And so I ask, what is the cosmic variable responsible for this timeless tragedy?

 I am ceaselessly amazed when I encounter the increasingly pervasive, dangerously optimistic view of the human condition that is currently fashionable in the west. The kind of hype (‘yes we can!’) that utterly ignores the unprecedented level of violence and depravity played out during the course of the previous century and showing no signs of waning in the opening decade of the current one.

 Warm, fuzzy pseudo-messianic utopias of this type (history offers countless examples), require that we ignore the machinations of human history as it actually plays out. This history does not exactly reinforce the utopic view that humans can all miraculously come together in some sort of global group hug and resolve our problems by our own efforts or accord, most particularly in a degraded environment of want, where resources are dwindling while populations explode. History tells us that under these conditions, humans go to war and rip each other to pieces over the meager spoils.

 Trying to ‘Disneyfy’ this reality into something more palatable is adolescent naiveté at its worst and if it continues unchecked in our times, it will be the end of this civilization. Art’ states Bergson, ‘brings us into our own presence’, while St-Theresa of Avila said: ‘I require only that you look.’

A few words regarding titling…Titling is very relevant to my abstract/metaphorical work, they direct the viewer to the subject. If the pieces where not titled as literary essays, you might not link symbols and subject. Literary references are often present to indicate where the viewer might direct further inquiries. If you want to enjoy the art on your own terms and remain unaffected by my concerns, preserve your ignorance by ignoring my titles. If ‘getting’ the artist’s point is important to you, my titles contain messages that are unlikely to misguide of confuse.

 Regarding Materials…The primal notion of spirit being contained in matter plays a significant role in my creative process. Many ingredients of a widely varying nature go into my paintings. My choices of material are often made for technical reasons (the need for texture and so forth), however, the process is anything but superficial. Found objects, metals, melted jewelry, currency, animal and human hair, dirt, compost, brick, stone, blood, sand, insects, bones, ash… All these things and more find their way into or onto my canvas. Sometimes items are ground to a powder or burned for ash, or otherwise preserved in some recognizable form. Sometimes they are meant to be seen and form part of the motif; other times, they remain unseen but are included as a pigment base. More often than not, my choice of ingredients is directly related to the subject or a symbol pertaining to the subject.

 J.E Raddatz

http://www.galerieexnihilo.com/