[et_pb_section fb_built=”1″ _builder_version=”4.16″ global_colors_info=”{}”][et_pb_row _builder_version=”4.21.0″ background_size=”initial” background_position=”top_left” background_repeat=”repeat” custom_padding=”||0px|||” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.16″ custom_padding=”|||” global_colors_info=”{}” custom_padding__hover=”|||”][et_pb_gallery gallery_ids=”2839,2828″ fullwidth=”on” admin_label=”Gallery” _builder_version=”4.21.0″ custom_margin=”||49px|||” global_colors_info=”{}”][\/et_pb_gallery][et_pb_text _builder_version=”4.21.0″ _module_preset=”default” global_colors_info=”{}”]<\/p>\n
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[\/et_pb_text][et_pb_gallery gallery_ids=”2865,2866″ fullwidth=”on” _builder_version=”4.21.0″ _module_preset=”default” global_colors_info=”{}”][\/et_pb_gallery][et_pb_text _builder_version=”4.21.0″ _module_preset=”default” global_colors_info=”{}”]<\/p>\n
[\/et_pb_text][et_pb_gallery gallery_ids=”2476,2475,2474″ fullwidth=”on” admin_label=”Gallery” _builder_version=”4.21.0″ custom_margin=”||49px|||” global_colors_info=”{}”][\/et_pb_gallery][\/et_pb_column][\/et_pb_row][et_pb_row _builder_version=”4.21.0″ background_size=”initial” background_position=”top_left” background_repeat=”repeat” min_height=”341.3px” custom_margin=”-24px||-171px||false|false” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.16″ custom_padding=”|||” global_colors_info=”{}” custom_padding__hover=”|||”][et_pb_text admin_label=”Text” _builder_version=”4.21.0″ background_size=”initial” background_position=”top_left” background_repeat=”repeat” custom_padding=”8px|||||” global_colors_info=”{}”]<\/p>\n
“The unpainted” sono una serie di quadri\u00a0 in cui l’unica zona dipinta \u00e8 il bordo che riproduce ad olio la texture di una tela di lino. Le gocciolature e le macchie laterali sono gli spazi in cui emerge la stoffa di cotone colorata di cui \u00e8 composto il quadro.
Queste opere non hanno un orientamento fisso nello spazio e ruotano senza vincoli di posizione.<\/p>\n
“The unpainted” are\u00a0 paintings where the only painted area is the edge painted with oil colour, whitch simulate thetexture of a linen canvas. The lateral spots and drips are without painting, they are just the fabric of the support. [\/et_pb_text][et_pb_gallery gallery_ids=”2504,2508,2506,2507,2505″ fullwidth=”on” _builder_version=”4.21.0″ _module_preset=”default” global_colors_info=”{}”][\/et_pb_gallery][et_pb_text _builder_version=”4.21.0″ _module_preset=”default” global_colors_info=”{}”]<\/p>\n [\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row _builder_version=”4.16″ background_size=”initial” background_position=”top_left” background_repeat=”repeat” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.16″ custom_padding=”|||” global_colors_info=”{}” custom_padding__hover=”|||”][et_pb_text _builder_version=”4.21.0″ _module_preset=”default” global_colors_info=”{}”]<\/p>\n [\/et_pb_text][et_pb_gallery gallery_ids=”2774″ fullwidth=”on” _builder_version=”4.21.0″ _module_preset=”default” global_colors_info=”{}”][\/et_pb_gallery][et_pb_text _builder_version=”4.21.0″ _module_preset=”default” global_colors_info=”{}”]<\/p>\n [\/et_pb_text][et_pb_gallery gallery_ids=”2779″ fullwidth=”on” _builder_version=”4.21.0″ _module_preset=”default” global_colors_info=”{}”][\/et_pb_gallery][et_pb_text _builder_version=”4.21.0″ _module_preset=”default” global_colors_info=”{}”]<\/p>\n [\/et_pb_text][et_pb_text _builder_version=”4.21.0″ _module_preset=”default” global_colors_info=”{}”]<\/p>\n [\/et_pb_text][et_pb_text _builder_version=”4.21.0″ _module_preset=”default” global_colors_info=”{}”][\/et_pb_text][et_pb_gallery gallery_ids=”2785,2688″ fullwidth=”on” _builder_version=”4.21.0″ _module_preset=”default” global_colors_info=”{}”][\/et_pb_gallery][et_pb_text _builder_version=”4.21.0″ _module_preset=”default” global_colors_info=”{}”]<\/p>\n E\u2019 il ritratto di un piedistallo da scultura realizzato interamente ad affresco, dove quest\u2019ultimo, essendo un monocromo bianco, ci mostra la sua tridimensionalit\u00e0 scandita dal tempo: \u201cle giornate\u201d, una per ogni faccia visibile del parallelepipedo. Nella tecnica dell’affresco, le cosiddette “giornate” sono le fasi di lavoro sull’intonaco fresco.<\/p>\n <\/span>This work is the portrait of a pedestal made in fresco technique. It is a parallelepiped monochrome and shows us its three-dimensionality marked by time: \u201cthe days\u201d one for each face of the pedestal.<\/span> [\/et_pb_text][et_pb_gallery gallery_ids=”1884,1880,1881,1882,1879″ fullwidth=”on” admin_label=”Gallery” _builder_version=”4.16″ global_colors_info=”{}”][\/et_pb_gallery][et_pb_text _builder_version=”4.21.0″ _module_preset=”default” global_colors_info=”{}”]<\/p>\n On a linen canvas I painted with oil colours a raw cotton canvas and on cotton canvas I paint a raw linen canvas.<\/span> [\/et_pb_text][et_pb_gallery gallery_ids=”2738,2739,2638″ fullwidth=”on” _builder_version=”4.21.0″ _module_preset=”default” global_colors_info=”{}”][\/et_pb_gallery][et_pb_text _builder_version=”4.21.0″ _module_preset=”default” global_colors_info=”{}”]<\/p>\n [\/et_pb_text][et_pb_gallery gallery_ids=”2140,2279,2139,2272,2276,2141,2274,2275,2273″ fullwidth=”on” admin_label=”Gallery” _builder_version=”4.16″ global_colors_info=”{}”][\/et_pb_gallery][et_pb_text admin_label=”Text” _builder_version=”4.21.0″ background_size=”initial” background_position=”top_left” background_repeat=”repeat” global_colors_info=”{}”]<\/p>\n [\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row _builder_version=”4.16″ background_size=”initial” background_position=”top_left” background_repeat=”repeat” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.16″ custom_padding=”|||” global_colors_info=”{}” custom_padding__hover=”|||”][et_pb_gallery gallery_ids=”2405,1870,1868″ fullwidth=”on” admin_label=”Gallery” _builder_version=”4.21.0″ global_colors_info=”{}”][\/et_pb_gallery][et_pb_text admin_label=”Text” _builder_version=”4.21.0″ background_size=”initial” background_position=”top_left” background_repeat=”repeat” global_colors_info=”{}”]<\/p>\n <\/p>\n [\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row _builder_version=”4.16″ background_size=”initial” background_position=”top_left” background_repeat=”repeat” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.16″ custom_padding=”|||” global_colors_info=”{}” custom_padding__hover=”|||”][et_pb_image src=”http:\/\/www.eugeniavanni.it\/wp-content\/uploads\/2019\/07\/24DSC04505\u00a9photoElaBialkowskaOKNOstudio-copia.jpg” show_in_lightbox=”on” show_bottom_space=”off” align_tablet=”center” align_phone=”center” align_last_edited=”on|desktop” admin_label=”Image” _builder_version=”4.21.0″ animation=”off” sticky=”on” global_colors_info=”{}”][\/et_pb_image][et_pb_text admin_label=”Text” _builder_version=”4.21.0″ background_size=”initial” background_position=”top_left” background_repeat=”repeat” global_colors_info=”{}”]<\/p>\n [\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row _builder_version=”4.16″ background_size=”initial” background_position=”top_left” background_repeat=”repeat” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.16″ custom_padding=”|||” global_colors_info=”{}” custom_padding__hover=”|||”][et_pb_gallery gallery_ids=”2017,2021″ fullwidth=”on” admin_label=”Gallery” _builder_version=”4.16″ global_colors_info=”{}”][\/et_pb_gallery][et_pb_text admin_label=”Text” _builder_version=”4.21.0″ background_size=”initial” background_position=”top_left” background_repeat=”repeat” global_colors_info=”{}”]<\/p>\n Sopra una tavola di OSB a scaglie orientate ho ritratto a tempera all’uovo una tavola di noce, e su una tavola di noce una tavola di OSB. On an OSB table with oriented flakes I painted a walnut table in egg tempera, and on a walnut table an OSB table. The two tables simultaneously become the support and their portrait, however canceling their real image because they are portrayed one on top of the other, confusing the concept of value of the support used. Only the edge, left free from the paint, reveals the true identity of the support<\/span><\/h6>\n [\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row _builder_version=”4.16″ background_size=”initial” background_position=”top_left” background_repeat=”repeat” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.16″ custom_padding=”|||” global_colors_info=”{}” custom_padding__hover=”|||”][et_pb_gallery gallery_ids=”1839,1842,1836,1841,2259″ fullwidth=”on” admin_label=”Gallery” _builder_version=”4.16″ global_colors_info=”{}”][\/et_pb_gallery][et_pb_text admin_label=”Text” _builder_version=”4.21.0″ background_size=”initial” background_position=”top_left” background_repeat=”repeat” global_colors_info=”{}”]<\/p>\n [\/et_pb_text][\/et_pb_column][\/et_pb_row][\/et_pb_section]<\/p>\n","protected":false},"excerpt":{"rendered":" Tourn\u00e9e, 2024olio su stoffa nera di cotone, grafiteoil on black cotton fabric, graphite250 x 200 cmveduta della mostra, exhibition view “Tourn\u00e9e” Galleria Fuoricampo, SienaFoto Ela Bialkowska\u00a0 OknoStudio “Dipingendo sulla stoffa colorata la trama della tela di lino, in queste opere la figurazione affiora sulla superficie come un effetto riflesso della differenza fra tela e pittura, […]<\/p>\n","protected":false},"author":2,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_et_pb_use_builder":"on","_et_pb_old_content":"","_et_gb_content_width":"","footnotes":""},"class_list":["post-1908","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/www.eugeniavanni.it\/index.php?rest_route=\/wp\/v2\/pages\/1908","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.eugeniavanni.it\/index.php?rest_route=\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.eugeniavanni.it\/index.php?rest_route=\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.eugeniavanni.it\/index.php?rest_route=\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.eugeniavanni.it\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=1908"}],"version-history":[{"count":284,"href":"https:\/\/www.eugeniavanni.it\/index.php?rest_route=\/wp\/v2\/pages\/1908\/revisions"}],"predecessor-version":[{"id":2926,"href":"https:\/\/www.eugeniavanni.it\/index.php?rest_route=\/wp\/v2\/pages\/1908\/revisions\/2926"}],"wp:attachment":[{"href":"https:\/\/www.eugeniavanni.it\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=1908"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
This works have no fixed orientation in space and can be hang orizzontal or vertical.<\/span><\/h6>\nTHE UNPAINTED. FONDO NERO, 2023
olio su stoffa di cotone nero | oil on black cotton fabric<\/span>
40 x 50 or 50 x 40 cm
photo Ela Bialkowska OKNOstudio<\/h6>\n<\/h6>\n
GIORNATE AL SOLE, 2024
<\/span><\/span>affresco. (una giornata)
nero vite su polvere di quarzo e grassello di calce
<\/span><\/span>60×50 x3 cm
foto Ela Bialkowska OKNO studio<\/span><\/span><\/h6>\nGIORNATE AL SOLE, 2024
<\/span>affresco (una giornata)
blu di lapislazzuli, nero vite e ocra gialla
su polvere di quarzo e grassello di calce
60 x 50 x 3cm
<\/span><\/span>foto Ela Bialkowska, OKNO studio<\/span><\/span><\/h6>\n\u00a0<\/h6>\n
<\/h6>\n
\u201cGiornate al sole\u201d \u00e8 il titolo di una serie di affreschi che riproducono pittoricamente <\/span><\/span>alcuni canovacci da cucina. Questi\u00a0 oggetti di uso quotidiano, a causa dei molteplici lavaggi, asciugature al sole<\/span><\/span>, appaiono con le fantasie sbiadite. <\/span><\/span>La loro riproduzione ad affresco su quarzo, insieme al processo di carbonatazione, restituiscono la sensazione di usura di questi oggetti, immortalandoli in un preciso momento della loro esistenza e trasformandoli in opere pittoriche.
La realizzazione dell\u2019affresco, pi\u00f9 di altre tecniche, \u00e8 dipendente dal concetto di tempo e dalla quotidianit\u00e0 del lavoro, tanto che viene chiamata \u201cgiornata\u201d, ogni porzione di intonaco ancora fresco che \u00e8 possibile dipingere indicativamente in una giornata di lavoro.
<\/span><\/span>Da questo concetto che mette insieme vita quotidiana e tempo di lavoro nasce anche il titolo dell\u2019opera \u201cGiornate al sole\u201d.
<\/span><\/span>
\u201cDays in the Sun\u201d consists of a series of frescoes that reproduce pictorially some kitchen towels.<\/span><\/span><\/span> These particular everyday objects, due to multiple washings, dryings in the sun now appear in fantasies and their patterns very faded.<\/span><\/span><\/span> Their fresco reproduction on quartz, together with the carbonation process, give the sensation of worn of these objects, immortalizing them in a precise moment of their existence and transforming them into pictorial works .T<\/span><\/span><\/span><\/span><\/span>he creation of the fresco, more than other techniques, depends on the concept of time and the daily routine of work: every portion of still fresh plaster that can be painted in approximately in one working day is called a \u201cday\u201d.<\/span><\/span><\/span>The title of the work “Days in the Sun” also arises from this concept that brings together daily life and working time.<\/span><\/h6>\n<\/span><\/h6>\n
\u00a0<\/span><\/span><\/h6>\n
CINQUE GIORNATE, 2014
affresco bianco in forma di piedistallo\u00a0|<\/i>\u00a0white fresco in the shape of pedestal
<\/i>cm 110 x 25 x 25
veduta della mostra “La lama di Procopio” opere della Collezione AGI, Verona. Casso
foto Nicola Noro<\/p>\n
In the Fresco technique, what are called \u201cdays\u201d are the works phases on the fresh plaster<\/span>.<\/h6>\nRITRATTO L’UNO DELL’ALTRO, 2017
dittico: ritratto di tela di cotone, olio su tela di lino; ritratto di tela di lino, olio su tela di cotone |diptych:portrait of cotton canvas, oil on linen canvas;\u00a0portrait on linen canvas, oil on cotton canvas<\/span>
100 x 80 cm ciascuno
Photo Ela Bialkowska, OKNOstudio<\/h6>\nSopra una tela di lino \u00e8 stata dipinta ad olio una tela grezza di cotone e sopra una tela di cotone, una tela grezza di lino.
Le due tele pi\u00f9 comuni utilizzate per dipingere, il cotone ed il lino, diventano contemporaneamente il supporto ed il loro ritratto annullando per\u00f2 la loro immagine reale
Solamente il bordo, rimasto libero dalla pittura e rivela la vera identit\u00e0 del supporto<\/p>\n
The two most common canvases used to paint become simultaneously the support and their portrait. their real image is erased\u00a0<\/span>
Only the edge reveals the true identity of the support.<\/span><\/h6>\nTELA SU STOFFA: INIZIO E FINE DI UN FONDO BLU (PRUSSIA), 2023
dittico, da sinistra: olio su stoffa di cotone blu; stoffa di cotone blu intelaiata
diptych from left: oil on blue cotton fabric; framed blue cotton fabric<\/span>
100 x 80 cm ciascuno | each
photo Ela Bialkowska OKNO studio<\/h6>\n<\/h6>\n
SULLA NEVE, <\/em>2021
tre piedistalli degli anni 70 dipinti con tempera all’uovo bianca;
quattro album schizzi con disegni di Giuliano Vanni | three sculpure pedestals from the seventies painted with white egg tempera;\u00a0 four scketchbooks with drawings by Giuliano Vanni<\/span>
Exhibition view:<\/span> “Sulla Neve” Solo show for ArtVerona, with Fuoricampo Gallery, 2021<\/h6>\n<\/h6>\n
RITRATTO DI TELA PREPARATA,\u00a02017
tempera all\u2019uovo su tavola\u00a0|<\/i>\u00a0egg tempera on wood panel
70 x 60 cm
Foto Ela Bialkowska, OKNOstudio<\/h6>\n\u00a0<\/em>IL LAVORO E’ SOLO RISPETTO ALL’ARTISTA: ARGILLA,\u00a02018
olio su tela | oil on canvas
60×40 cm<\/h6>\nPANTOMIMA 2019
dittico, da sinistra\u00a0| <\/i>diptych from left<\/span>:<\/span>
<\/i>tempera all\u2019uovo su pannello a scaglie orientate OSB; <\/i>tempera all\u2019uovo su tavola di massello di noce | <\/i>egg tempera on wood panel of Oriented Strand Board OSB; egg tempera on wood of solid walnut wood<\/span>
<\/i>cm 44 x 26 ciascuno \/ each
Ph. Ela Bialkowska, OKNOstudio<\/p>\n
Le due tavole diventano contemporaneamente il supporto ed il loro ritratto annullando per\u00f2 la loro immagine reale perch\u00e8 sono ritratte l\u2019una sull\u2019altra, confondendo il concetto di valore del supporto utilizzato.<\/p>\n<\/h6>\n
LA PITTURA INTORNO. TELA DI LINO DIPINTA SU NERO, 2019
olio su imprimitura nera, su tela di cotone | oil on black primer, on cotton canvas<\/span>
<\/em>150 x 200 cm
Foto Ela Bialkowska, OKNOstudio<\/h6>\n