Acrylic on Canvas Paper, 29,7 x 21 cm, May 2021
You can see the birth and creation of this painting, clicking HERE, on my youtube channel, where you can watch the first video of the 5 that are part of the project:
I HEAR WHAT YOU’LL SEE YOU SEE WHAT I HEAR
By Steve Somerset and Alberto Repetti
Steve Somerset (Music) and Alberto Repetti (Painting)
present the project in live streaming:
“I HEARD WHAT YOU’LL SEE, SEE WHAT I FEEL “
STEVE SOMERSET‘s music and ALBERTO REPETTI’s painting will merge together on the evening of October 22nd:
at 8pm UK time and 9pm Italian time.
You can follow the event on Alberto Repetti’s Facebook page
a unique event, which you cannot miss!
Born during a live session, this series defines my understanding of the very nature of painting as documentation of the very nature of time.
Linked to the need for constriction of the live session, the construction of the images takes place in a precise temporal sequence and constitutes the work of art regardless of the number of sheets.
The whole session is a unique work and testimony of the formal act because it is documented and therefore interpretable in its expressive technical development.
More than the masters, given that having them is fundamental, it is important that the education of a draughtsman or painter is, in youth , surrounded by people with whom to share their progress and passions.
Without this factors combination, in the future, will be very complicated to have a critical view of one’s work, which must be impartial, rigorous and never lenient, always.
I can not lie and make fun of the public, presenting works that are not satisfactory and credible from a technical and formal point of view, because the public is disarmed, and, in front of a benevolent criticism can be easily manipulated.
This is so, i know, because in the audience, I am there too.
Più che i maestri, dato che averli è fondamentale, è importante che l’educazione di un disegnatore o di un pittore sia, in gioventù, circondata da persone con cui condividere i propri progressi e le proprie passioni.
Senza questa combinazione di fattori, in futuro, sarà molto complicato avere una visione critica del proprio lavoro, che deve essere imparziale, rigoroso e mai indulgente, sempre.
Non posso mentire e prendere in giro il pubblico, presentando opere che non sono soddisfacenti e credibili da un punto di vista tecnico e formale, perché il pubblico è disarmato e, di fronte a una benevola critica, può essere facilmente manipolato.
È così, lo so, perché tra il pubblico ci sono anch’io.
The search for levity is very difficult but it is a practice to be preserved. It is a bad thing to use the terms from one artistic practice to another but the timbre and musicality are what comes closest to the awareness unawareness of the painting.
Oil and Acryilic Painting on a Photo Print 25 x 20,7 cm, 2019 April
Procreate’s Digital Painting. 1284 x 1129 px 300 dpi, January 2019
The landscape is fully realized in the second half of the nineteenth century. The legacy left by painters, for example, like Constable is enormous and it is not easy to paint a landscape without confront with these giants. However I feel the need to bring on the paper or on the tablet screen the suggestions that the spectacle of nature continues to give. Perhaps someone one day surely will know how to date these works of mine from elements that today completely escape me.
Oil on Canvas, 50 x 60 cm, September 2018
When I was commissioned this painting I had in my eyes the volutes of the skies of Normandy and the harrowing sensation of an event that was shaking my city, Genoa. In this cloud there are the events of those days that turn into the will to represent them, in the gestures, in the brush strokes are blurred or decided, but not to transfer the burden of a totalizing experience in the subject. Therefore, the pain or the pleasure remain inside of me and are projected outside, not in the painting, but in the medium yes, to the end, with the need to build an almost mystical practice with the object through I can represent my idea of world.
Quando mi è stato commissionato questo dipinto avevo negli occhi le volute dei cieli di Normandia e la sensazione straziante di un accadimento che stava scuotendo la mia città, Genova. In questa nuvola ci sono gli accadimenti di quei giorni che si tramutano nella volontà di rappresentarli, nei tratti del pennello siano sfumati o decisi, ma non di trasferire nel soggetto il carico di un’esperienza totalizzante. Quindi, il dolore o il piacere rimangono dentro di me e si proiettano al di fuori, non nel dipinto, ma nel medium si, fino in fondo con la necessita di costruire una pratica quasi mistica con l’oggetto.
This portrait is important because show the peculiarity of the painting that seem out of focus but in real is very focused. It is realized with a different technique from that used by crawling the brush to get a blurred effect. Instead the effect is obtained by many small brush strokes that allow me to get a really disorienting effect for the eyes. It’s a real technical challenge that has a rendering impossible to make with a simple photograph. Click on the image.
Digital painting. Entanglement series number 12. Work in progress
In this video with some images in a timeline, I show the development that led to the painting.
The work satisfied me both for its construction, and how the various parts i have painted. This picture shows a robin in flight, a walking cat and a woman talking on the phone. Of these three creatures, the only one that we know where it will go is the cat, because it will goes to the woman. The background participates in a fundamental way, creating a livable, accessible space where the three characters can act. But what will happen once the cat will reach the woman? Time is crystallized into an eternal bet. The bet that is the invention of painting where everything is determined by the passage of the time, and the flow of the time has allowed at the painting to take shape. The brushstroke, every single brushstroke, allows a formal reading. We can see his develope, we can see passage of the time and how be can represented it. Through the excuse of the three characters story, the colors are laid on the canvas with the brushstrokes, one after the other, and represent the true work of art, that is, the time spend to paint it, . Painting is painting and it is also the artist, because within it is enclosed its time.
Alberto Repetti Art 