ALESSANDRO FILARDO

THE LOOKS

The research began in 2004 with a question: which is the window that, more than any other, marks the border between the inner being of man and the world that surrounds him
The answer that I settled on was this: facial expression.
It reveals everything of importance, like a book that can be read by anyone who knows the subject well, to know what he's feeling, be it sadness or happiness, dissatisfaction or satisfaction. When examined thoroughly, the face doesn't lie.
If we reduce the classic portrait to the lowest terms, it becomes a summary, capable of eliminating all that is not essential to the transmission of emotions, at least from my point of view.

Having selected some subjects endowed with particularly evocative expressions and having marked out the field of composition and only painted the face, the next step has been the attempt to give them voice projecting from the canvas, capturing that special moment in which something is spoken through the eyes, something that lasts just a moment and then disappears.

Perspectives are amplified to increase the visual impact on the viewer. The images now come out of the canvas suggesting bigger dimensions than those in the painting. The result is to provoke a deliberate state of anxiety and disorientation, but meanwhile inspiring a more in-depth analysis of what that fixed and searching look might be trying to transmit to the viewer.
Cinematographic, frontal and direct cut: we cannot turn away and we are forced to try without success to decode the message.

The subdivision of the pictorial space of the composition in dyptichs and tryptichs is intentional to draw the attention of the user to the utilization of classic pictorial supports, reinforcing the intention to let the painted image speak with its own voice.
The concept of visual synthesis made through facial expression is coherent, even through the use of colour is deliberately restricted: the spectrum of colours is limited to a blinding white in contrast with a total black - a direct reference to the overexposure and underexposure of black and white photography-, a comment on the contradictory relationship between light and shade, elements that have always had something to do with the inner life of every man; In the middle an electric psychedelic blue peeps out, expressly to augment the contemplative potential of the subjects and to accentuate the already numerous questions.

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