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Red hair

Red hair

Red hair

Work belonging to the "Operaplastica" series, where the mystery of reality invades the new elements that enhance, through fluctuating masses of colour, the material that composes them: plastic. Often evident representations of some characters and other Lego® elements with frequent presence of high materiality.

Technique: mixed on canvas

Specifications
Light source - Ex.: Monochromatic, Two-color Polychromatic
Support - Ex.: Frame, Pedestal Wooden strip
Genere - Es.: Fantasy, Still life, Religious, Landscape Fantasy
Subject represented - Ex.: Horses, Fruit, Cats Lego®
Technique used - Ex.: Oil on canvas, Pencil on paper Mixed on canvas
Style dell'opera - Ex.: Surrealism, Cubism, Abstractionism Pop
Artist data
Artist experience - Ex.: Emerging, Expert Expert

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€2,200.00
Ex Tax: €2,200.00
  • Availability: Unavailable
  • Dimensions: 60misura x 0misura x 80misura

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Federico
Federico Pisciotta
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PREMI

2023 - II Premio Giuliano Nozzoli, Torre di San Vincenzo, Livorno. 

2019 – Premio della Stampa, Vernice Art Fair, 17ª edizione, Romagna Fiere, Forlì.

2016 – I Premio, ARTAVITA International Artist Contest, Santa Barbara, California, USA.

2016 – Premio Back Cover, Art & Beyond Studio, Inc. publisher, Morton Grove, Illinois, USA.

2015 – Premio Arte Critica, Grifio Art Prize, Concorso Internazionale d’Arte online.

2015 – Premio Giuria Tecnica, PremioArt Caffè Letterario, III edizione, Caffè Letterario, Roma.

2007 – Premio Operosità ENAP, Roma.

2006 – I Premio Mario Dell’Arco, Sezione Arti Figurative, X edizione, Accademia Giuseppe Gioachino Belli, Roma.

2005 – Premio Segni d’Arte Young, Gilda, Roma.

2000 – I Premio, I Grandi della Storia, Galleria Forum Interart, Roma.

1999 – II Premio, III Biennale di Arti Visive Città di Roma, Palazzo del Comune, Frascati, Roma.

1999 – II Premio, Trofeo Sibilla, Galleria La Sibilla, Frascati, Roma.

1999 – I Premio, E’ Roma, è Forum, Galleria Forum Interart, Roma.

1992 – I Premio, Arteroma ’92, I nuovi confini d’Europa, Palazzo dei Congressi, Roma.

1991 – Targa Colosseum, Galleria Forum Interart, Roma.


BIOGRAFIA

Federico Pisciotta è un artista italiano contemporaneo nato a Roma il 30 ottobre 1975. Iniziato alla pittura nei primi anni Ottanta sotto la guida del M° Gino Righetto e Giorgio Vespaziani. Nel 1987 si trasferisce nella Scuola d'Arte del M° Roberto Ascolese che segue fino ai primi anni Novanta. Nel 1993 si diploma presso il VI Liceo Artistico Statale di Roma e nel 1997 in Pittura presso l’Accademia di Belle Arti di Roma, con Nunzio Solendo e Sandro Trotti.
Dopo essersi dedicato per diversi anni al perfezionamento delle tecniche pittoriche, guardando ai grandi maestri del passato, inaugura una breve parentesi impressionista, che vede una serie di realizzazioni spesso paesaggistiche. Segue il periodo compositivo surrealista, un momento fondamentale e molto caro all'artista, legato alla memoria della Metafisica dechirichiana. Più tardi recupera gli schemi della tradizione figurativa attraverso una personale rielaborazione del pop americano. Si apre la complessa ricerca che lo porterà alla fase esistenzialista inaugurata con la personale “Ænigma” nella primavera del 2003 e perfezionata con una originale sequenza di “Composizioni” che ritagliano dei personalissimi squarci prospettici caratterizzati dalla frequente riproposizione di alcuni oggetti simbolici.
Nell’estate del 2005, con “Operaplastica”, il mistero del vero invade i nuovi elementi che esaltano, attraverso fluttuanti masse di colore, la materia che li compone: la plastica. Questo filone prosegue nelle raffinate versioni degli “Scacchi” e, successivamente, i richiami all’evoluzione della materia, potenziati dall’utilizzo di rame, acciaio, alluminio, metallo e blocchi di cemento armato nella serie degli “Autoritratti” presentati per la prima volta in “Antologia Plastica”, suggeriscono un approdo più intimistico, ispirato all’esplorazione dei “sentieri dell’anima” e alla ricerca di un linguaggio pittorico capace di trasmettere le profonde inquietudini.
Dopo aver insegnato per diversi anni nella capitale, si dedica esclusivamente alla pittura e alla ricerca artistica contemporanea.
Partendo dall'ultima riproposizione compositiva adottata negli ultimi anni, scopre per caso l'ultima generazione dei videogames. Si inaugura l'ultimo progetto che viene presentato per la prima volta a Monaco di Baviera nell'estate del 2014. Si avvale di un personale processo di rivisitazione della pittura, supportato da interazioni multimediali che richiamano l'ossessiva presenza dell'iconografia informatica. I soggetti principali messi in scena sono tratti dai più noti videogame player, alcuni creati attraverso l’ibridazione tra personaggi di matrice storica e virtuale, poi inseriti in un contesto assolutamente estraneo alla narrazione videoludica ma facilmente riconducibili alle nostre abitudini post-sociali. I suoi videoplayer in plexiglass, retroilluminati da lampade Led RGB, stravolgono l’equilibrio della pittura tradizionale creando uno spazio di transizione dell’immagine che sottolinea la precarietà e le illusioni della società postmoderna.
Ha partecipato a mostre collettive e personali in Italia e all’estero esponendo presso alcuni spazi pubblici prestigiosi come la Fondazione Museo Venanzo Crocetti, Roma, Palazzo delle Esposizioni, Roma, Palazzo Barberini, Roma, Palazzo dei Congressi, Roma, Complesso Monumentale della Bocca della Verità, Roma, Museo Storico dell’Arma dei Carabinieri, Roma, Forte Sangallo, Nettuno, Roma, Museo Civico Archeologico, Anzio, Roma, Scuderie di Palazzo Aragona, Vasto, Chieti, Museo Cà de Carraresi, Treviso, Museo Emilio Greco, Catania, Palazzo Vigo di Torre Archirafi, Riposto, Catania, MUMA, Museoteatro della Commenda di Prè, Genova, Galata Museo del Mare, Genova, Chiostro della Ss. Trinità, Archivio di Stato, Venezia, Torre di San Vincenzo, Livorno, Galleria DAP1,Varsavia, DomagkAteliers, Halle 50, Monaco di Baviera, Battersea Art Centre, Londra.

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AWARDS

2023 - 2nd Prize Giuliano Nozzoli, Tower of San Vincenzo, Livorno. 

2019 – Press Award, Vernice Art Fair, 17th edition, Romagna Fiere, Forlì.

2016 – 1st Prize, ARTAVITA International Artist Contest, Santa Barbara, California, USA.

2016 – Back Cover Award, Art & Beyond Studio, Inc. publisher, Morton Grove, Illinois, USA.

2015 – Critical Art Award, Grifio Art Prize, International Online Art Competition.

2015 – Technical Jury Prize, Caffè Letterario Art Prize, III edition, Caffè Letterario, Rome.

2007 – ENAP Industriousness Award, Rome.

2006 – 1st Prize Mario Dell'Arco, Figurative Arts Section, X edition, Giuseppe Gioachino Belli Academy, Rome.

2005 – Segni d'Arte Award, Gilda, Rome.

2000 – 1st Prize, The Greats of History, Interart Forum Gallery, Rome.

1999 – 2nd Prize, III Biennial of Visual Arts City of Rome, Palazzo del Comune, Frascati, Rome.

1999 – 2nd Prize, Sibilla Trophy, La Sibilla Gallery, Frascati, Rome.

1999 – 1st Prize, It's Rome, it's Forum, Forum Interart Gallery, Rome.

1992 - 1st Prize, Arteroma '92, The new borders of Europe, Palazzo dei Congressi, Rome.

1991 – Plaque Colosseum, Forum Interart Gallery, Rome.


BIOGRAPHY

Federico Pisciotta is a contemporary Italian artist born in Rome on October 30, 1975. He started painting in the early eighties under the guidance of Master Gino Righetto and Giorgio Vespaziani. In 1987 he moved to the Art School of Master Roberto Ascolese who he followed until the early nineties. In 1993 he graduated from the VI Liceo Artistico Statale in Rome and in 1997 in Painting at the Academy of Fine Arts in Rome, with Nunzio Solendo and Sandro Trotti.
After dedicating himself for several years to perfecting pictorial techniques, looking to the great masters of the past, he inaugurates a brief impressionist parenthesis, which sees a series of creations, often landscapes. The Surrealist compositional period follows, a fundamental moment very dear to the artist, linked to the memory of De Chirico's Metaphysics. Later he recovers the patterns of the figurative tradition through a personal reworking of American pop. The complex research begins that will lead him to the existentialist phase inaugurated with the solo show "Ænigma" in spring 2003 and perfected with an original sequence of "Compositions" that carve out very personal perspective glimpses characterized by the frequent re-proposition of some symbolic objects.
In the summer of 2005, with “Operaplastica”, the mystery of truth invades the new elements which exalt, through fluctuating masses of colour, the material that composes them: plastic. This trend continues in the refined versions of the "Chess" and, subsequently, the references to the evolution of the material, enhanced by the use of copper, steel, aluminum, metal and reinforced concrete blocks in the series of "Self-portraits" presented for the first time in "Plastic Anthology", they suggest a more intimate landing, inspired by the exploration of the "paths of the soul" and the search for a pictorial language capable of transmitting deep anxieties.
After teaching for several years in the capital, he devoted himself exclusively to painting and contemporary artistic research.
Starting from the latest compositional reinterpretation adopted in recent years, he discovers the latest generation of videogames by chance. The latest project is inaugurated and presented for the first time in Munich in the summer of 2014. It makes use of a personal process of revisiting painting, supported by multimedia interactions that recall the obsessive presence of computer iconography. The main subjects staged are taken from the most well-known videogame players, some created through the hybridization between historical and virtual characters, then inserted in a context absolutely unrelated to videogame narration but easily attributable to our post-social habits. His plexiglass video players, backlit by RGB Led lamps, distort the balance of traditional painting by creating a space of image transition that underlines the precariousness and illusions of postmodern society.
He has participated in group and personal exhibitions in Italy and abroad, exhibiting in some prestigious public spaces such as the Venanzo Crocetti Museum Foundation, Rome, Palazzo delle Esposizioni, Rome, Palazzo Barberini, Rome, Palazzo dei Congressi, Rome, the Complesso monumentale della Bocca della Verità, Rome, Historical Museum of Carabinieri, Rome, Forte Sangallo, Nettuno, Rome, Civic Archaeological Museum, Anzio, Rome, Stables of Palazzo Aragona, Vasto, Chieti, Cà de Carraresi Museum, Treviso, Emilio Greco Museum, Catania , Palazzo Vigo di Torre Archirafi, Riposto, Catania, MUMA, Museoteatro della Commenda di Prè, Genoa, Galata Museo del Mare, Genoa, Cloister of the Holy Trinity, State Archives, Venice, Tower of San Vincenzo, Livorno, DAP1 Gallery, Warsaw, DomagkAteliers, Halle 50, Munich, Battersea Art Centre, London.

ART FAIRS

2019 - VERNICE ART FAIR, International Contemporary Art Fair, Romagna Fiere, Forlì.

2016 - ART EXPO NEW YORK, represented by Art Nation Wynwood Gallery, booth #465,466, Pier 94, New York.

2015 - ARTE GENOVA 2015, represented by SATURA Art Gallery, Fair Area, Genoa.

2015 - AFFORDABLE ART FAIR, represented by ARTROOMS Italia, Superstudio Più, Milan.

2015 - ART SAN DIEGO, represented by Artisan Direct, LTD, Pittsford, NYC, booth #325, San Diego Convention Center, San Diego, California.

2015 - SPECTRUM Miami, represented by Art Platform NYC, booth #519, Midtown Miami, Wynwood District, Miami.

2015 - ART EXPO NEW YORK, represented by Basak Malone LLC, NYC, booth #133, Pier 94, New York.

2014 - SPECTRUM Miami, represented by Artisan Direct, LTD, Pittsford, NYC, booth #713, Midtown Miami, Wynwood District, Miami.

2014 - ART SAN DIEGO, represented by Artisan Direct, LTD, Pittsford, NYC, booth #321, San Diego Convention Center, San Diego, California.

2014 - ART EXPO NEW YORK, represented by Artisan Direct, LTD, Pittsford, NYC, booth #241, Pier 94, New York.

2013 - ART EXPO NEW YORK, represented by Artisan Direct, LTD, Pittsford, NYC, booth #168,178, Pier 94, New York.


COLLECTIVE EXHIBITIONS

2023 - Giuliano Nozzoli Prize, Tower of San Vincenzo, curated by Nicola Nozzoli and Vault Art Consulting, Livorno.

2022 - La Quinta stagione, II Edition, Cistern of Santa Maria in Castello, curated by Benedetta Spagnuolo, Genoa.

2021 - La Quinta stagione, Cistern of Santa Maria in Castello, curated by Benedetta Spagnuolo, Genoa.

2020 - Art Paper International, Galerie L'Atelier, curated by Leonardo Pecoraro Hünibach, Bern, Switzerland.

2019 - MUSICAL FRAGMENTS, II Edition, Messina Room (Ex fish market), curated by Benedetta Spagnuolo, Giarre, Catania.

2019 - PRESENCIAS - BCM Art Gallery, curated by Silvia Arfelli, Barcelona.

2019 - PERFECT DAY, Galata Museo del Mare, Gallery of Exhibitions, curated by Benedetta Spagnuolo, Genoa.

2018 - IMPRESSUM, Emilio Greco Museum, curated by Benedetta Spagnuolo, Catania.

2018 - FRAGILE, Handle with care III, MUMA Commenda di Prè Museum Theater, curated by Benedetta Spagnuolo, Genoa.

2018 - LIEU/NON LIEU - I non-luoghi della mente, Emilio Greco Museum, curated by Benedetta Spagnuolo, Catania.

2017 - FRAGILE, Handle with care II, MUMA Commenda di Prè Museum Theater, curated by Benedetta Spagnuolo, Genoa.

2017 - LIEU/NON LIEU - I non-luoghi della mente, Palazzo Vigo di Torre Archirafi, curated by Benedetta Spagnuolo, Riposto, Catania.

2016 - Different Point of View, Solari 11 - Bisleri 1881, curated by Diego Ciotola and Fabio Di Vittorio, Milan.

2016 - Credere la luce 6, Sotto il manto di Maria, Dello Splendore Museum, curated by Marialuisa de Santis and Federica de Lucia, Giulianova, Teramo.

2016 - Pre Opening Gallery Exhibition, Art Nation Wynwood Gallery, curated by Jayson Samuel, Miami.

2016 - REPLAY, Il vizio dell'errore, Messina Room (Ex fish market), curated by Benedetta Spagnuolo, Giarre, Catania.

2015 - Caffè Letterario Art Prize, III edition, Caffè Letterario, curated by Pamela Cento, Rome.

2015 - ARTE A PALAZZO, Il caleidoscopio dell’Arte Contemporanea in uno scrigno del Cinquecento, Farini Concept Gallery, Fantuzzi Palace, presented by Beatrice Buscaroli, Bologna.

2015 - M.A.D. Opening Exhibition, M.A.D. Gallery, curated by Carlo Greco and Alessandra Magni, Milan.

2015 - ARTE A PALAZZO, L’ebbrezza del contemporaneo , Farini Concept Gallery, Fantuzzi Palace, presented by Claudio Spadoni, Bologna.

2015 - Shingle 22j, V Biennial of Contemporary Art of Anzio and Nettuno, Civic Archaeological Museum, curated by Elisabetta Civitan, Anzio, Rome.

2015 - Quant'è bella Giovinezza, INCONTRARTI 2015, The proposals of the Vasto Prize, Stables of Aragona Palace, curated by Daniela Madonna, Vasto, Chieti.

2015 - WIA Expo, Warsaw International Art Expo, with the patronage of the Italian Cultural Institute in Warsaw, DAP1 Gallery, curated by Pamela Cento, Warsaw.

2015 - Genoa Biennale, International Exhibition of Contemporary Art, Stella palace, curated by Mario Napoli, Genoa.

2015 - Fifth Exhibition of Contemporary Art, Casa dei Carraresi Museum, curated by Daniel Buso, Treviso.

2015 - This is Contemporary Art, PHOTISSIMA Art Fair, Festival and LGBTE International Arts, Cloister of Ss. Trinità, State Archives, Venice.

2015 - BATTERSEA ART STATION, International Art Exhibition, Battersea Art Centre, London.

2015 - 6x6, All'Angolo Gallery, curated by Leonardo Pecoraro and Adriano Pizzagalli, Mendrisio, Switzerland.

2015 - Donna In-Forma, Venanzo Crocetti Museum Foundation, curated by Giorgio Palumbi and Laura Salerno, Rome.

2015 - ARTPROTAGONIST, International Prize for Contemporary Art, Villa Contarini, curated by Maurizio Pradella, Piazzola sul Brenta, Padova.

2014 - First Biennial of Creativity in Italy, Palaexpò Verona Fairs, curated by Paolo Levi and inaugurated by Vittorio Sgarbi, Verona.

2014 - SATURA International Contest, Stella Palace, curated by Mario Napoli, Genoa.

2014 - MA-EC Art Expo 2014, Milan Art & Events Center, curated by Mario Napoli, Milan.

2014 - EGOS VII Exhibition, Royal Opera Arcade Gallery, curated by Rosi Raneri and Elizabeth Mitchell D'Anna, London.

2014 - Fourth Exhibition of Contemporary Art, Casa dei Carraresi Museum, curated by Daniel Buso, Treviso.

2014 - Artisti a confronto, Dialogo fra generi, Artexpertise Gallery, curated by Marina Volpi and Tommaso Gardenti, Florence.

2014 - Cattura il respiro, Cotton Warehouses, curated by Flavia Motolese, Genoa.

2014 - Artitaly & Artworld, Domagk Ateliers, Halle 50, curated by Pamela Cento, Munich.

2014 - Con/corso Buenos Aires VI – “The Thirty”, ArtPassage, curated by Giuseppe Villani, Milan.

2014 - Il Museo in Vetrina, Casa dei Carraresi Museum, curated by Daniel Buso, Treviso.

2013 - Collective Opening Exhibition, Milan Art & Events Center, curated by Weizhen Jiang, Peishuo Yang and Helena Sans, Milan.

2022 - "Videoplayer", Circolo delle Vittorie, curated by Nicoletta Rossotti and Antonio Fugazzotto, Rome.

2015 – “T-REality”, M.A.D. Gallery, Milan, curated by Alessandra Magni and Carlo Greco.

2015 – “Futuro adesso”, exhibition in 3D augmented reality, VGallery1, Cento Virtual Space, curated by Pamela Cento.

2008 – “Paintings”, from Operaplastica, Embassy of the Arab Republic of Egypt, Egyptian Cultural Office, Rome, curated by Nicolina Bianchi.

2007 – “Antologia Plastica”, Dall'enigma al sentiero dell'anima, Embassy of the Arab Republic of Egypt, Egyptian Cultural Office, Rome, edited by Nicolina Bianchi and Rabie Salama.

2007 – “Soloplastica”, Essentia, Chiaravalle, AN, curated by Leonor de la Oz.

2006 – “Realtà Viniliche”, Il cibo tra espressione e mistero del vero, Covered market hall , Falconara Marittima, AN, curated by Nicolina Bianchi.

2005 – “Operaplastica”, L'evoluzione della materia, Dei Soldati Gallery, Rome, curated by Stefano Simmi and Nicolina Bianchi.

2003 – “Ӕnigma”, Forum Interart Gallery, Rome, curated by Nicolina Bianchi and Mario Luglio Conti.

2000 – “I colori del gusto”, Forum Interart Gallery, Rome, curated by Nicolina Bianchi and Mario Luglio Conti.

From: POP-VIRTUAL REALITY, SATURA, n°27, 3rd Quarter 2014, pp. 98-99.

by Andrea Rossetti

He has taken some of the popular culture, contaminated it with underground annotations and applied it to a respectable academic background. Federico Pisciotta has thus created a pictorial hybrid between technical perfection and sign decadence, heeling provocation and familiarity of images. It is therefore with good reason that the logical sequence of his images tends to loosen the rhythm of its functionality in a wholly dysfunctional figurative trend, where nothing possesses - nor should it possess - its own meaning anymore and everything seems to lean towards the paradox more absolute. At first glance nothing to which the expressive-visual dynamics of the second half of the twentieth century have not already accustomed, considering that the paradoxical termination (in the double sense of logic and perception) was a bit the whole pop avant-garde, the one that made the images - and here really any kind of image is meant - an over-consumption product suitable for “artistic consumption”; or, looking at the matter from another perspective, who advocated the more consumerist side of art. But like a loose cannon in the most shrewd contemporary picto-côté in terms of pop-reloaded, Pisciotta first recomposed the iconographic value of each subject, then reduced it into single icon-images to spread the fully spicy taste of restricted post-social frames, maybe even full of politically-incorrect puns. Pungent enough, surer than today certain pop-addicted impulses would require, which our Roman artist takes with grain salis, as a certain Franco Angeli did decades ago, an Italian-true example of pop imagery decidedly out of the ordinary . We are at the apotheosis of a consumerism that connects ever more bridges with the virtual, recruited in scenes from a video game that become the ordinary administration for those who, including Pisciotta, sit on the other side. Of the screen as of the canvas. Has pushing the play button made available, symbolically large and evident, become a vital necessity at this point?


From: FUTURE NOW, opening presentation of the solo exhibition.

by Pamela Cento

Works marked by a pictorial figurative that combines traditional painting with an artistic research rich in technique and contents projected towards a future so near as to become overbearingly present. Symbols and icons of the contemporary world and characters who live in solitude in front of a computer monitor, in front of an almost finished glass of whisky, or inside the interiors of a market where they seem to have spent their entire existence. Consumed lives, and they, terrifyingly human characters in substance, have an astonished expression as if amazed at a life of which they are unable to grasp its meaning and direction, they remain on standby, silently and helplessly waiting for someone to save them, drag them away from there by pressing the play for a new start, for another story, where we can still live. Yet they had big dreams, like superheroes... to land instead on a red armchair, old and without a soul with a titanium prosthesis instead of a leg, where the essence of a spark of the eyes comes from the dynamism of playing the playstation®. No play will save them, for them there is only oblivion. The play button, present in many of the artist's works, constitutes a strong element of break with traditional painting, this predominant geometric element not only breaks the shape but enriches it in a totally unusual way using a contemporary hieroglyph, now universal in meaning and in form, to such an extent that anyone has and will be tempted to click that play, which in the works of Federico Pisciotta will prove to be a mere illusion.

From: “Quant'è bella Giovinezza”, INCONTRARTI 2015, The proposals of the Vasto Prize, exhibition catalogue, p. 7.

by Daniella Madonna

Federico Pisciotta's works introduce into the skilful practice of traditional painting elements that forcefully bring us back to the invasion of the virtual, the digital, the telematics in everyone's everyday life. With bitter irony, the artist depicts young people hooked on the silence of video games, which punctuates emotions to the rhythm of plays and pauses, leading to a delirious solipsism. The only company, a few sips of alcohol in which to look for flashes of happiness. The elderly man in the superhero shirt, crippled in body but playful in spirit, is also an icon of our century sick of youth.


From: ARTE A PALAZZO, The kaleidoscope of Contemporary Art in a sixteenth-century casket, exhibition catalogue, pp. 94-95.

by Azzurra Immediato

The tradition of academic training of Federico Pisciotta finds a contrast with the line of research that he has undertaken in the past year, entitled Work — 2014 and is enjoying great success, also thanks to the conceptual value that it underlies.

A project that was born and is developing under the aegis of the phenomenal hybridization between descriptive matrix painting and the images of the new virtual technology. This mingling creates a neo-surrealism which, however complex it may appear as a link, in reality, Pisciotta outlines with great clarity.

Describing "that computer world in continuous and impetuous evolution that has generated the change of the human psyche and distorted the image we have of ourselves", the Roman artist highlights the punctum of his analytical research recognizable in the distortion of the recognizability between real and virtual , in which the caesura limit is so labile that it is sometimes not clearly distinguishable. Technological matrix and real matrix seem to run on the same tracks and the upheaval that man is undergoing tends, on closer inspection, more to a possible implosion than to a real evolution. The subjects that the painter stages are the new video game players who sometimes take on the appearance of the best-known protagonists of some of the most popular role-playing games, such as "The Last of Us", "Beyond: Two souls" and "Agni's Philosophy”.

And he further states: “This simultaneous relationship with the viewer has led me to convey the charm and beauty of these masterpieces of the computer world by translating them pictorially in the revisited “manner” of the Renaissance Masters”.

But what emerges in observing his works? In truth, we find ourselves alone wondering about existentialism, about the value of human individuality, about its transience. The precariousness of our real existence translates exactly into that loneliness that is generated in living a virtual reality. Pisciotta describes all this through a melancholic realism created with formal lyricism, capable of making us notice, inexorably, the precariousness of our existence.

In the work for the Farini Concept Gallery exhibition, The secret of the chinese feather, there are many references to the virtual, connoisseurs and enthusiasts of video games and virtual realities from game consoles will recognize more than one element, such as the logo of the most used social network where, by now, all the information in the world passes. The user can imagine himself in direct contact with the work, but, to date, fortunately for us, we still know how to recognize (us) outside of virtual reality.


Videoplayer (The Led Rgb) - Federico Pisciotta, 2013-2019

by Benedetta Spagnuolo

Federico Pisciotta, Roman artist, graduated from the Academy of Fine Arts in Rome in 1997.

For a long time he applied himself to the study and improvement of pictorial techniques and after a brief "impressionist" parenthesis he devoted himself totally to an artistic period where surrealism was the master, recovering the patterns of the figurative tradition reworked in a Pop and contemporary key.

The essential component of Federico's research and painting is precisely the juxtaposition of elements of classical inspiration with contemporary objects-subjects, and it has always been marked by symbols and allegories which reveal, with irony, the precariousness of human existence consumed by daily habits and this is even more evident in the last phase of its production.

One of the projects that the artist has been carrying out since 2013 is the Videoplayer series (The Led Rgb) composed of oil and mixed media works on canvas or wood; in this project there is a constant element: the icon of a Videoplayer in stand-by which is waiting to receive the command from the one who curiously wants to "click" it.

In his first productions, the artist inserts this icon as a pictorial element, while subsequently materially extrapolating it from the canvas, making it a real 3D object; from this moment the icon will be carved in wood and applied on a plexiglass plate, to ensure that this is backlit with alternating light; thanks to the use of RGB LED lamps, the artist has recreated the effect of a video player with discontinuous light in a macroscopic version.

This whole series is mostly large-format, the artist puts the viewer at ease to tempt him to interact with the work, and then subsequently delude him that he won't actually be able to touch it (since the video player turns back on independently). Life-size objects thus become objects of “desire”.

Federico from now on tries to represent, as he himself says, "that computer world in continuous and impetuous evolution that has generated the change of the human psyche and distorted the image we have of ourselves".

All the elements depicted are recognizable and linked to the presence of a player obsessed with the virtual and who lives in a state of eternal solitude, among these we find game consoles, glasses and bottles withnot inside alcohol, objects related to the habit of smoking and the obsession with food (sweets and fruit) also often appear, as if reality were mixed with fiction and the depicted subject wanted to justify himself in front of his own ambiguous behavior towards something or someone.

What particularly characterizes this series are not only the characters immersed in a setting that oscillates between classicism and contemporaneity, but it is also the atmosphere itself that no longer has limits of time and space, as if the painted subjects (women with strong femininity, almost hypnotized children or angry men) were stuck between fantasy and reality; what is concrete, however, is that Federico wants us to immerse ourselves in a daily life that borders on the imagination, where the subjects become caricatures of humanity and the faces accentuate the feelings of anger, sadness and melancholy.

Each character represented is never casual, each one has a sometimes hidden and sometimes unveiled meaning and the works are inspired by many videogames of our day with plots that exactly describe the climate painted by the artist:

“The rhythm of the story affects life itself which appears fluctuating, suspended between anxiety and stillness, frenzy and some unexpected sighs of relief. While on the one hand the need to run to escape the violence of a humanity gone mad emerges, on the other the need arises to stop and catch your breath, spending a night inside the house of who knows who, admiring a sunset, reading a comic, trying to find glimpses of a normal life”.

Characters linked to a supernatural identity, a dramatic adolescence, childhood wounds, the past or a virtual war, lead the player/visitor to ask questions about the existence, the value of human individuality and its precariousness .

In "Federico's reality" painting investigates the virtual, while the virtual becomes more truthful than anything else; the artist flatters the user through every symbol, every brushstroke and every emission of light spaced out by the play button.

The interaction of the viewer is on the razor's edge between true and false, because if apparently everyone can touch the work, in reality this is not true: the work can only be touched through the eyes and the desire of a visitor who becomes a virtual "player" of the work itself; the artist as well as the player is constantly placed at the center of the experience, effectively occupying the role of unconscious director and the transition of our real existence translates exactly into that solitude which is generated in living a virtual reality which increasingly accompanies the our life.


Presentation text from the catalog of the solo exhibition "The colors of taste".

by Nicolina Bianchi

Very often the forms assimilated by our senses, sometimes even transformed in size, tend to make us re-examine the world around us.

Exploring this world that even seems to appear in continuous revolt against conventions, aesthetic conformity, traditional projects, means for Federico Pisciotta to create, in an extremely concrete and realistic representative situation, stimulating contrasts of dimensions and bizarre figurative materials, increasingly exciting in the meanings of visual images and increasingly expressive in the values of a social discourse and also curiously educational.

Hostile to the closed systems of culture and to the exclusive concern of art for art, he transforms, as in the emphatic models of American Pop, his remarkable creative "virtuosity" into an original objectivity of truth, which, even in the formal macro-inventions, reveals that pleasant touch of pictorial satire on our changing existential moods, on our daily obsessions, on our frequent food bad habits.

Color, like food, says Pisciotta, is a continuous jet of energy, it is the eros of taste, it is the starting point of an ancient but always current vital process from which we always draw new impulses.

To the labeled categories of academic and manneristic realisms, we discover in his works the contrast of a modern hyperrealism where each element is colored with special visual stimuli and enters a space deliberately out of measure and out of time that can only be experienced in a higher imaginary as in an illusory gargantuan dimension.

His profiteroles in the almost sensual opulence of poured yellow chocolate brown asphalt, his bucatini in the interweaving of resins and neoprene, his eggs with bacon, his lemon tarts, imagined in immense floors of colored carpets have the bewitching force of excess, the intriguing flavor of a surreal object of desire.

Create in a decidedly enlarged version those foods that exist in real life, artificially color them with acrylics and enamels, Entering them as "inviting" sculptures padded with foam rubber or vinyl is for the painter to discover a personal style of assemblages, to invite the observers to discover their effects together, to lead them to a provocative and not just visual dialogue. A dialogue that follows the irrepressible vitality of the work and the impact force of his special creative argument. It is perhaps also an opportunity that Federico Pisciotta offers us to reflect on the values of food, to discuss the infinite spaces of asphalt and carpeting where "his" food is immersed without the slightest logic of relevance, to glue our eyes to the curious details of his extravagant but also a little romantic provocations.

“A cake, Whayne Thiebaud stated in an interview, always has all sorts of wonderful and complex associations. The whiteness of the meringue becomes a great poetic concern for me: it is like snow, frost, like the concept of purity, it absorbs and reflects light at the same time, it is made up of all colors like Chardin's napkins..."


 THE ART OF FEDERICO PISCIOTTA

by Mara Ferloni

From the catalog of the solo exhibition "The colors of taste".

An artist who works in silence with seriousness and great passion, Federico Pisciotta, with a formally accessible language, shows us in color his vision of certain joys related to eating, materializing the spirit and beauty of the products that nature offers. With great mastery of the signs, which skilfully outline the contours and boundaries between images and things, giving the work the right light and the movement of the images themselves, Federico Pisciotta presents original themes in their normality on large canvases: poached eggs bacon, giant tomatoes, chestnuts, cakes, bucatini which for him become pulsating elements of life, ready to ennoble them, to give them strength and expression, almost a specific invitation to taste the delicacies whether they come from the earth or from the creative imagination of man. The perfect knowledge of drawing, the accurate and personal technique, together with a chromatic harmony make this young talented painter, conservator of an always appreciated figurative, a presence that will surely become more and more important in the panorama of contemporary art.


A “SINGULAR” WORK

by Barbara Pisciotta

From the catalog of the solo exhibition "The colors of taste".

When one is lucky enough to get to know the works through the artist, it is impossible not to find the traits of a complex inner maturation in his extraordinary pictorial sensitivity. And the chromatic and spatial ambiguity of this work is immediately understood. A work in the singular, or perhaps an overlapping of infinite planes, where the chromatic contrasts and the exasperation of the shapes create a feeling of precariousness and disorientation. A condition that may be his, but above all it is ours: the realism of the forms contrasts with the unrealism of the dimensions and the surrealism of an "improbable" spatial location which merge into a conflictual and ephemeral vision of the whole. In revealing himself, the artist recovers his relationship with the outside world and arrives at a new, highly personal interpretation of art.


Federico and ÆNIGMA, art and SPACE

by Nicolina Bianchi

Presentation text from the catalog of the solo exhibition “ÆNIGMA”.

ÆNIGMA of things, of time, of modern mysteries...

ÆNIGMA of dreams and legends, of history, of spaces and vestiges...

ÆNIGMA of new images "blown" by the wind of centuries ago.

Mystery of truth or dejà vu magic, a whim of space that deceives logic and time.

"Past and present", a single story opens suspended between spaces and objects, painted words, sculpted colors, massive reliefs of new symbols or ancient signs that still speak, invisible custodians and alone between cubes and cylinders, between broken circles or trimmed with grays and browns.

Among forms and paintings enclosed by the cosmos, mysteries of light, of albumen white, of serial yolks and slices of life that live a golden genesis, on warm green and red carpets, on “imperial” spaces, poured ancient, veiled in resin-marble, in shiny enamels, in shapes and bitumen, modern columns of history, jars and arches, stones and memories of Dorians and Corinthians... and more jars, food, life among the transverse capitals where cubes and cylinders, welcome, immense, the active images of a poet painter.

Stage actions between architectures and wonders and you, fantasist and inventor of forms and ideas, build and dilate expressive tensions, of statues and profiles, of symbols open to the "infinite future", surreal and disturbing like Strehler's actors.

It is a serial dictation of pictorial marvels, of solitudes and thoughts, of high creative interpretation. It is a daring game that explores soul and life, that assembles corners and objects, architectures and places, keepers of old solidities and modern volumes.

You tell they freeze time in the geometric colors, in the cultured contemporaneity of the material, in the soft, almost erotic softness of the rubber, in the resinous fluidity that falls, like pictorial streams, on the continuous allusion of the enigmas... or in the light of the plaster that splits white spaces and atmospheres.

David and Moses are also profiles of space.

The space that dominates means and actions, the space that swells under the plastic gestures of the artist, the space that invents and chains the archaic and the expectation of the after.

“Creating new dimensions for art, breaking the dimensional limits of the surface…” stated Fontana.

Yours is a new freedom of interpretation, a new "stage" of plastic research, of allusive effects, of evocations and cultures of truth.

A story of infinite mystery is life on your canvas, on your shapes.

Woman and Sibyl, Figure and Oracle, Eternal Reason of Art.


The mystery of ART

by Barbara Pisciotta

From the catalog of the solo exhibition “ÆNIGMA”.

The mystery of life, the immortality of art, the contrast between the old and the new, the transience of earthly things, these are the themes that overlap in the artist's reflection and which are depicted in a sequence of very personal shots.

The spectator is first nailed to a stage that represents the ideal continuity between the glories of the past and the uncertainties of the future, between the ruins of what has been and the surreal wholeness of what is now but will no longer be. It is everyday life, with its colours, its shapes, its myths. It is the essence of art, which shines through in the continuous evolution of those same forms, in the infinite streams of color that break up the monotony of everyday life and give us the emotion of a timeless, borderless space.

This tangle of sensations then unfolds in a succession of romantic dreamlike visions which envelop the spectator and project him into the center of a frenzy of images, metaphorical elements, "glimpses" of daily life, The egg, original vital nucleus, which the artist reproduces in each sequence, it is the element that gives body to his emotions, which determines his moods.

From the vitality that the contrasts of yellows and greens emanate, to the serenity of the pastel shades, to the moving homage to the masterpieces of the past, we arrive at the violent chromatic impact of anger, pain and loneliness. The shots sometimes "exude" the artist's suffering, "leak" his most intimate emotions, depict his anxieties, his fears.

The extraordinary lightness that the capitals spread immersed in a quiet summer afternoon appears truly real, authentic, just as the deep restlessness that emerges from the glacial background of the two superimposed cubes is authentic. And it is precisely the awareness of having resolved one's relationship with art that gives rise to that restlessness. The restlessness of having to measure oneself, day by day, with the thousand contradictions of reality.


The Eggs of MOSES

by Bartolo da Sassoferrato (pseudonym)

From the catalog of the solo exhibition “ÆNIGMA”.

The works of antiquity survive time, replicating in the classical perfection of the elements that compose it, the implicit rationality of the harmonic and stable forms of nature.

Man's irruption into history is the world's affirmation of human freedom over natural necessity, of having to be as a result of an option, over being as a result of evolution or, if you like, of creation.

But this dynamic and glorious escape towards a world made up of a will split from the laws of nature is a courageous abandonment of the interpretative criterion of reality chosen by ancient art confident in natural rationality.

In this overlapping of plans and interpretations, allowed by the overlapping of the present and of memory over the centuries, the bankruptcy works of the modern and free man cloak the scenarios of the past in an unreal light that envelops deserted backgrounds and indefinite and indefinable spaces coloring common objects with inconsistent and non-existent tones.

In the luminous depiction the modern object, synthesized in symbols and evocations, the consumer good, symptom of the dangerous paths of current life, stands as an element of arrogant disturbance alongside oozing immortal works, with a desolating effect of unsustainable irrationality. To reveal, in the end, a total loss of meaning.

The space expands, contradictorily welcoming past masterpieces and irrational forms that lie like restless wrecks resting on orphaned backgrounds of an announced absentee: man.


Presentation text from the catalog of the solo exhibition “Operaplastica”.

by Nicolina Bianchi

Each personal exhibition of Federico Pisciotta is transformed into a particular pictorial event.

The antithesis between an imaginary reality and an everyday Inca realityraised by the technological transformation of the world and of things, it is continually underlined by the profound exaltation of a variegated and unprecedented materiality. A convulsive tangle that dialogues through strongly participatory gestures.

His paintings, like great existential scenography, combine an instinctive intuition of childhood with a more "adult" experience of cultural communication.

Reason and art, symbols and figures, spaces and objects thus become words of color, they become impact and comparison with an important visual freedom, they become drops of matter, threads of white nitro light that invent grids and effective geometries. A different way to build the connective tissue of a work with glazes, a way to define the continuous analyzes of numerous pictorial materials, to invent transparencies of plastic figures, imaginary silhouettes or curious interpreters of advertising, red armchairs, a twisted pear , toys, electrical sockets, barcodes... all protagonists of a world that lives and comes alive with the same material of which it is made, that material which becomes rigid and ductile at the same time, which meets even with the smaller molecules as in an inexhaustible and universal happening.

And no suspended veiling, no perspective cut, no color or atmosphere is ever casual, just as casually his hard-boiled egg slice or his black background bitumen continue in each work to mark his identity of expression, the immense enigma and subtle allegory of life.

Operaplastica is like a new creative appearance, it is the gestural story of a painter who, although very young, evolves according to his constant and committed historical progression.

A painter who, like Federico Pisciotta, manages to immerse himself in the exhilarating force of color, but also manages to touch our most intimate emotions with the intense and thoughtful eyes of a painted doll.


Preface from the catalog of the solo exhibition "Plastic Anthology".

by Rabie Salama

Cultural Attaché of the Embassy of the Arab Republic of Egypt

Interculture is the promotion of exchanges between different cultures, perhaps a utopia, if we stop for a moment to look at what is happening in the world around us. Yet the Egyptian Cultural Center has among its main objectives precisely that of promoting dialogue between the different cultures through the organization of meetings and areas of exchange, where the values, ideas, ideals, beliefs and opinions of the people they may meet; not only to make one's culture known, but also to build a dialogue between the great variety and richness of ways of living and thus find common points above all differences.

Art, as an expression of the individual's creativity and therefore capable of producing and modifying knowledge, is the perfect means for achieving this goal.

Today the Egyptian Cultural Center is pleased to host the works of Federico Pisciotta, a young Roman artist, who presents himself with an important anthological review, full of evolutionary moments that mark a path of plastic and figurative research.

Among symbols, ancient memories and self-portraits, Federico Pisciotta analyzes a world where shapes and colors narrate the universality of our history. A universality that unites us all, Italians, Egyptians, and all mankind.


From the catalog of the solo exhibition "Plastic Anthology".

by Mario Pinzauti

Journalist and European Lecturer, former director of RAI

I say and repeat it to all my artist friends when they ask me to say or write a few words about their works: I'm not a critic and I haven't studied art.

However, I say and repeat to everyone that I am a friend of art and I have the presumption of believing that this friendship is reciprocated to the point of allowing me to recognize in front of a painting, a sculpture, another work of art the boundary between amateurism, craft and genius.

Well, my friendship with art has lately expressed itself clearly, even with a certain arrogance in front of "Anthology Plastic", Federico Pisciotta's exhibition. He even forbade me from uncertainties and hesitations. He invited me to take note of the fact that this is true art.

I welcome this invitation and pass it on to all who will visit the exhibition.

There is no doubt that many of them, as happened to me, will happen to wonder what meaning the figures, the backgrounds, the happy amalgam of colors (for me above all the celestial ones are wonderful) that one encounters while visiting " Plastic anthology".

Someone will see references to mythology, to Freud, other invitations to dream or to communicate with the otherworldly, much more.

Everyone will remain convinced that Federico Pisciotta, the boy who, like others, grew up artistically in Mario Lug's atelierlio Conti and Nicolina Bianchi, is today a painter who deserves not an applause but a standing ovation and not only from friends of art but also from critics, especially from the public.


Presentation text from the catalog of the solo exhibition "Plastic Anthology".

by Nicolina Bianchi

Art critic, Editor and Director SEGNI D'ARTE

Federico Pisciotta condenses in his recent creations more than a decade of artistic activity and the Roman exhibition "plastic anthology" represents the true meaning of a conquest.

Federico Pisciotta's current imagination is linked to a narrative texture in which his pictorial universe is freed and told, a universe made of new discoveries, chromatic sequences, intuitions, clear autobiographical definitions.

A story in colour, of volumes, of matter, in a dimension of mystery and enigmatic symbols that accompanies his life in art, on the emotional wave of a personal introspective analysis.

Masks, barcodes, fairy tale or game characters, horses and chessboards to silently reveal the retro of appearances. Building life on the canvas, coloring metaphors, between vinyl and cement “castlings and “breaks”, between taking and abandoning suggestions and thoughts, between unexpected spaces of absolute blues and reds.

This is Federico Pisciotta's new creative climate, the evolution and perfecting of original means of expression where the form becomes the essential imprint of his new material language.


The faces of the soul

by Barbara Pisciotta

From the catalog of the solo exhibition "Plastic Anthology".

The virtual journey that the artist offers us in the unpublished section of this anthology is probably the most intense and authentic moment of her pictorial elaboration.

Introspection and the search for new expressive modalities merge in an overwhelming journey which confirms his definitive personal and artistic maturation. The author takes us through the path of his intimate emotions, between past and present, nostalgia for what is lost and anxiety for what could be.

The expressive impact is deliberately violent: visions and self-portraits loom over the viewer like blocks of reinforced concrete blocking the way. The message arrives immediately and invites the viewer to stop. Time and space take on the pressing rhythm of modernity. There is no longer the perception of a correspondence between man and nature (The path of the soul). You can breathe the smell of concrete, admire a metallic sky, feel the remote pulse of life. A field of poppies is transformed into an object of desire: distant and elusive (Last vision of an impassable landscape). Everything that somehow represented the source of inspiration for yesterday's artists is today marked by an insurmountable limit.

It is here that the artist's sensitivity captures the element of rupture between nature and art and sublimates it into a refined and effective representation of our time.

His privileged laboratory is the world: it is understood by observing his image reflected on the background of iridescent copper. Moving his hand is an inextricable tangle of sensations which unravels whirlingly on the canvases. The arm stretched out towards the viewer is the element that unites life and art, the real world and its personal representation (Reflected Self-Portrait). The artist continually enters and exits reality, observes us and guides us into his inner universe, giving us himself and his emotions (Self-portrait at the door).

Everything moves within a visual space without boundaries (the knight and the queen). Life runs fast along high voltage wires, travels into the unknown, absorbs and transmits the sounds of time.

No one can stop it, except art. The eternal dilemma between reality and fiction is resolved in a play of colors and mirrors and dissolves in the image of what remains. Ourselves.

The artist Federico Pisciotta accepts commissioned works concerning portraiture and personalized works.

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