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| Form and Abstraction are two aspects of the same reality, and the relationship between the two is one that stimulates the human mind. But is that relationship such that we might develop a single language within the Figurative Arts, as in other areas of human communication? A precise shape - a vase, a hand, or whatever- is made up of many other smaller elements, and these may threaten the integrity of the object itself. What we see depends on our point of view. A straight line is an infinite series of minimal points, and it is intriguing to find ourselves in between these points, to perceive from a viewpoint lying somewhere between the Real and the Surreal. Colours may be mixed together to create shades and contrasts, and black and white to create ambiguity, an ambigiuity which the ‘viewer’ is invited to resolve - is it dawn or sunset? Is that woman’s dress green or yellow? Is there a smell of fresh grass coming from the meadow?
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| Section 1) |
Oils, pastels and chalk |
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In some of these works may be seen the formal features of an ongoing process of discovery, in piccolo trittico [Small Triptych], for example, and piramide [Pyramid]. In meditazione [Meditation] surreal abstraction is present: a question asked, perhaps, or an answer that is being waited for.
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| Section 2) |
Ink drawings |
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These are small compositions (20 x 30 cms), which have also been conceived of as larger pictures or wall panels. In some of them colour contributes to the structural balance of the work. |
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| Section 3) |
Pencil |
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Examples of how pencilwork can be an ideal substitute for colour through its varying degrees of intensity. |
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| Section 4) |
Gold |
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Design for jewelry
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