ALESSANDRO FILARDO

Archiviarti
Bollate (MI), Fabbrica Borroni 2010

The enlargement of faces featured in Alexander's painting comes from the formation of the artist. This helps us understand how the artist works on the concept of the image more than on the picture itself.
Alexander initially painted eyes according to the formula of the diptych or triptych to create a very strong synthesis of the portrait. Subsequently he decided to extend his choice to the entire face, which might represent a celebrity or a friend of the painter, suggesting the breaking down of barriers between famous celebrities and ordinary folk, as already proposed by Warhol and generally by Pop Art.
In his portraits , Alexander uses blue tones exclusively and consistently, precisely in order to pursue the synthetic effect that is so dear to him. Therefore he creates a chromatic synthesis with introspective and spiritual luminescence, as he would also do when portraying suspended souls during a deep self-analysis of themselves and their surroundings.
It is probably for this reason that lately the painter is placing his figures in a rustic or architectural context that seems to be a pantheistic continuum of the thoughts absorbing them.
It is exactly this mixture of reality and unreality, this union of the earthly dimension with the spiritual, that makes Alexander's painting so noteworthy.

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