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|Stefano Di Lorito Paintings|
|Stefano Di Lorito was born in Genoa (Italy) on the 31th December 1963.For over ten years he has been involved in illustration, graphics and painting, as well as being commited to literature and mainly poetry.His paintings are part of private collections in Italy, France, Great Britain and Spain.The artist’s pictorial route develop through different formalisms ranging from figuration to abstractionism, recognizable in distinct streams any of wich holds specific reflections over life, society, culture and art it self.The leading motive in all his work is the analysis of the intercurrent connectionbetween subject and object, between idealism and materialism, between reality and surreality.He himself considers his approach to art as "TRANS-METAPHYSICAL".Stefano Di Lorito’s favourite technique is oil on canvas as well as experimenting other materials.|
| September 2000, Nizza (Fr) Grand Hotel Radisson |
October 2000, Riccione (Hotel Savioli)
December 2000, Centro D'Arte "La Spiga" Genova
December 2000 per TELETHON, Rapallo (Banca Nazionale del lavoro)
Mars 2001, Palazzo S.Giorgio (Genova)
July 2001, Rapallo-Genova, Galleria "Il Leggio"
August 2001, Gavi (Al), Galleria "Spazio Arte"
February 2002, Genova Galleria "San Donato"
Mars 2002, Sanremo, Villa Ormond
May 2002, Genova, Centro D'Arte "La Spiga"
September 2002, Sanremo, Villa Ormond
October2002\April 2003 Siena, Galleria "Porta all'Arco"
December 2002, Genova, Galleria "Sabatelli"
May 2003, Torino, Galleria "La Telaccia"
June 2003, Montecarlo, Hotel de Paris
June 2003, Genova, Forte Sperone
July 2003, Roma, Teatro dei servi
August 2003, Porto Venere, Sp
November 2003, Arte Expo-Padova
January 2004, Galleria Studio Logos, Roma
|THE TRANSMETAPHISIC AND THE PRESENT REALITY"Inside the greek meaning of becoming grows either the western tradition and the technical civilisation; either the Epistem and the destruction of the Epistem"(Emanuele Severino : Contemporary Philosophy) It’s a profitable and intelectual goal, though inevitably partial, the one reached by contemporary philosophy.From greek civilisation onward philosophy has deepened his search inside the various problems of existence: the connection between belief and tangible reality, the ever incurable contrast between certainty and truth, the formulation of a fully explainable theory from wich to obtain an incontrovertible moral as well as a fair social form.Philosophy has deconstructed and reconstructed nature through science, to inevitably meeting the insormountable obstacle of the indeterminability of the matter in its constituents, of the universe in its origin, and the conscience in its identity.Many different approaches have been attempted in order to reach a unitary and coherent global explanation of the world and man, trying every time to tighten the net of knowledge and yet finding everytime a fly slipping out of our hands: the elusive fly of the "becoming" that assert all by its buzzing and denies all by its unseemly flight.Logic has then (even the most irrational philosophy is logic) failed its attempt to find the "Epistem", the code of all codes, the founding principle, the primary matrix, God.It is a truly asserted failure that has brought along with it in its oblivion the classical metaphisic; but yet it has left on this side of the "Lethe" many meanings of knowledge.Together along with this multiform range of approaches to man and to reality, with these different projects and mecchanisms, to those logical structures, it has left a deep consciousness already prophesied by Nietzsche, the only irrefutable truth, even by science : the becoming of things.A "becoming" with no direction, no reason but the internal coherence of its elements: inevitable, undeniable, yet elusive.The "absolutely relative" spreads its shadow over science, philosophy and religion, over politics and society, over oneself and any natural or artificial structuring.It happens then, that philosophy realizes to have demolished and rebuilt continuously its logical building only to perceive the lack of an immanent law of a pre-existed project, of an omni-present reassuring god whose word we all have to follow. In this puberty of the philosophy, it then disappears the need of a parent, of a safe guide, of a preconstituted model, to find the disturbing truth of not having an identity but that unique inebriating certainty of existence.The dissolution of the theological-trascendental metaphisic gets rid of any fence, clears the way of any horizon’s line on which to display our own schemes, our representations.An absence that turns instantly into freedom, a new form of freedom, free from all except the potential of infinity of relations, a fertile land where each element can meet any other element, where every diversity is welcome like a gift and not like a provocation, a heresy or an offence to the infallible preconstituted model anymore.Do we have to regret the reaching of such a goal, that has opened before our very eyes, the death of the epistem, the end of the metaphisical absolutism, the need of God?Every human being has the chance to act and explore himself and reality with no boundary but the others freedom.A new ethic is rising, not like the shape of a temple over the horizon’s line, but like a transparent wind pushing all men to use and cultivate their own sensitiveness.The simbology of this painting is representation of the ephemeral connections, necessarily denoted by contemporary philosophy, that creates reality.Creativity then, not for inventing something different from reality, but to represent the creativity of reality itself.Connections between shapes, strenghts and tensions, structures non definable by the representation of a known and evident object but only by the mental archetypals of the representation. Representation of the representation, in the attempt to focusing the attention not on the contingent reality but on the structure of its becoming. Trans-metaphisical painting then, freed at last like modern philosophy, from the epistemic need of generating a truth subsisting to reality.This trans-metaphisical abstractionism, shall we say post-structuralist, proposes itself like representation of the essence of the conscience in its participation to the becoming of reality, to interpenetrate structures and clouds, to draw figures that recall prehistorical graffiti, ideograms and stylized paintings of the figurative vanguards, this paintings, so abstract and so concrete, so historical and anti-historical at the same, trys to find the way to make the individual realize his "being relative". Stefano Di Lorito 1997|
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