I SALTATORI I
Watercolor, Human figure, Watercolour, 140x180cm
The Jumpers (2011)
Series of three paintings that the artist has combined into a single installation. Each painting depicts a character captured in the extreme momentum of a jump.
Starting from a major bereavement, the jumpers are all those people who wanted to deal with bereavement.
Each painting is created in watercolor, pen and blumenpast's inserts , (plastic industry).
The same type of plastic has also been used for the realization of the petals of poppy contained in the structures at the base of each canvas. The artist wanted it to represent the image of a tomb through a field of poppies ( plant with hallucinogenic properties and close to the dream world).
At the basement of each structures thare are dates of birth and death, leading to an elevation almost mystical.
On each canvas of the triptych is also projected a shadow line given by the fluorescent light neon that is at the base of the structures full of poppies: the beam of light, with its charge of energy, illuminating the entire installation and interact gently with the painting as a ranking
ideal line of demarcation to be overcome.
As in most of his research Federica Di Carlo, starting from the sensitivity
design, can get beyond the two-dimensionality of painting, enriching it with further
media and materials.
Series of three paintings that the artist has combined into a single installation. Each painting depicts a character captured in the extreme momentum of a jump.
Starting from a major bereavement, the jumpers are all those people who wanted to deal with bereavement.
Each painting is created in watercolor, pen and blumenpast's inserts , (plastic industry).
The same type of plastic has also been used for the realization of the petals of poppy contained in the structures at the base of each canvas. The artist wanted it to represent the image of a tomb through a field of poppies ( plant with hallucinogenic properties and close to the dream world).
At the basement of each structures thare are dates of birth and death, leading to an elevation almost mystical.
On each canvas of the triptych is also projected a shadow line given by the fluorescent light neon that is at the base of the structures full of poppies: the beam of light, with its charge of energy, illuminating the entire installation and interact gently with the painting as a ranking
ideal line of demarcation to be overcome.
As in most of his research Federica Di Carlo, starting from the sensitivity
design, can get beyond the two-dimensionality of painting, enriching it with further
media and materials.
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