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|Artist: Angelo Accardi||Width: 120|
|Support: Canvas||Height: 80|
After deeply examining his unconscious Angelo Accardi gives us back an unwanted non-place, which expresses his fear of an impending threat of a final battle. His works contain an ambiguous element in a place it doesn't belong to. Representing this paradox, as in this works with some ostriches in front of the Guggenheim Museum in New York, Accardi can have the correct elements to understand the true nature of the danger and face it.
Unique work, oil and mixed media on canvas, signed in original by the artist.
|Notes||Unique piece by Angelo Accardi|
Angelo Accardi was born in Sapri, province of Salerno, in 1964.
His first artistic activity was based on an extremely figurative art with a strong symbolism.
He started to study at the Fine Art Institute in Naples, although he dropped the studies soon after.
After that, Angelo Accardi faced a deep artistic identity crisis that led him to abstractionism.
This crisis lasted for few years until, at the beginning of the 1990s, he decided to open his own studio in Sapri.
From this moment, Accardi started to realize artworks based on the reflection on mankind, focusing on the social background.
From these studies arose the Human Collection, which gave him fame and brought to light Angelo Accardi as an artist.
This collection marked a great step in the career of the artist: from that moment on, Accardi began to create works focused on profound themes which he will develop during the following years, and that will lead the artist to the realization of the artworks that are making him so famous and valued nowadays.
This is also the period when he started to exhibit in numerous galleries, both in Italy and abroad. Since then, Accardi’s fame and career have kept growing.
In the last years, the quotations of his artworks have doubled, another confirmation of Angelo Accardi’s relevance on the art market.
Still today, Angelo Accardi lives and works in Sarpi, his hometown.
One of the most famous and recognizable subjects of Angelo Accardi Misplaced are surely the ostriches.
The artist inserts these animals in the most different environments, which nothing have to do with their own habitat: rooms, museums, running around city centres.
The presence of the animals in diverse contexts cause an alienating effect that leads the viewer to wonder why the artist decided to put an animal in a place where it does not belong.
This is where the heart of Angelo Accardi’s art lies: to represent the “Misplaced”, the out of context; and to do so, the artist follows the term literally, representing an unrelated object in a daily environment.
With Misplaced Angelo Accardi deletes completely the human figure, which, somehow though, is still involved: the ostriches replace the human being to move a critique on a double level.
The first critique is related to the art world: in the artworks that represent the ostriches indoor (like inside houses or museums), Accardi depicts on the rooms’ walls artworks of other artists, some contemporary, such as Keith Haring, Tomoko Nagao, Damien Hirst , but also from the Renaissance period.
The animals are represented while looking and admiring these masterpieces, often interacting with them, touching the works with their beaks, and becoming an integral part of the work.
Against all expectations, the ostriches seem to belong perfectly to these environments.
Hence, the subtle but effective critique of Accardi towards the inability of many people to interact with works of art, while not-particularly-smart animals, like ostriches, seem to have no problems in appreciating them.
The second level of Accardi’s critique is about daily life.
When the artist depicts the animal in the middle of the streets, the first sensation is of ambiguity.
However, the more you look at the painting, the more the presence of the animals seems normal.
In this case, Accardi Angelo wants to ironically underline how easy it is to erase or substitute mankind from places that have always belonged to it.
Alongside ostriches, Angelo Accardi inserts in his works other subjects that result out of context: Rhinos, Ships, Planes, cartoons’ characters like the Minions or The Simpson.
Still with the goal of representing the misplaced. However, some opinions say that it is possible to discover other meanings, creepier and, also, more catastrophic.
The presence of these characters in Misplaced, Angelo Accerdi's Artworks, depicted on big scale, seems to represent an imminent threat, a fear that is common to the whole human kind.
From here though, the clarification that these animals and other subjects whom populate Angelo Accardi’s works are not really present in the environment; on the contrary, the artworks function as a sort of mental projection of a fear, of an apprehension of the artist himself.
Painting these scenarios is a way through which Accardi try to share this sense of threat that constantly frightens him, almost in search for solace from the viewer, whom he tries to confide these fears to.
For years, Deodato Art has been dealing modern and contemporary art, among which also works by Accardi.
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