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ST_019

ST_019

ST_019

The painting describes a reality beyond the world of sensitive nature, it is therefore a matter of material metaphysics. The elements of the visual language are reduced to a minimum, the coal as a symbolic representation, the lumps of matter deposited with order, symmetry and harmony as physical entities with volume.
Technique: Coated cardboard, vellum, charcoal, stucco, acrylic, vinavil

Specifications
Light source - Ex.: Monochromatic, Two-color Monochrome
Support - Ex.: Frame, Pedestal Frame
Genere - Es.: Fantasy, Still life, Religious, Landscape Conceptual
Technique used - Ex.: Oil on canvas, Pencil on paper Mixed on wwood table
Style dell'opera - Ex.: Surrealism, Cubism, Abstractionism Material informal
Artist data
Artist experience - Ex.: Emerging, Expert Expert

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€1,400.00
Ex Tax: €1,400.00
  • Availability: Unavailable
  • Dimensions: 42misura x 0misura x 52misura

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Stefano
Stefano Catalini
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Premi:

2019 - Primo Premio di Arti figurative “Antonello da Messina”, III edizione - Accademia Internazionale Il Convivio, Castiglione di Sicilia – Catania.

2020 - Premio della critica al “Premio di Arti città di Torino”, I edizione.

2021 - Segnalazione di merito dalla critica per il “Premio Artista d’Italia”. Galleria Zero Uno di Barletta.


Bibliografia:

COSENZA 2014: Viene pubblicato il volume “Percorsi d’arte in Italia” (Rubbettino editore), a cura di Enzo Le Pera, è presente alla pag. 71 con Muro-frammento-2009 e Muro 012.


VARESE 2017: L'opere Pseudo-muro-2015, viene pubblicata nell’edizione del Catalogo L’Elite 2017, Selezione Arte - Edizione speciale F. Daverio.


MILANO 2017: Le opere Pseudo-fossile III-2015 e Muro-2010, vengono pubblicate da

Il Quadrato edizioni, nel volume “Pittori e Scultori - Proposta alla Svenska Akademien. Accademia Reale Svedese delle Scienze per l’assegnazione del Premio Nobel agli Artisti”, alla pag. 239, a cura di Giorgio Falossi e Lorenzo Cipriani.


VARESE 2018: Le opere Foresta fossile-2014, Muro nero-2014, Muro frammento-2009, Notturno-2008, vengono pubblicate nell’edizione del Catalogo L’Elite 2018, Selezione Arte - Edizione speciale F. Daverio.


CASTIGLIONE DI SICILIA (CT) 2019: Le opere Rosso Pompei-2017, Frammento-muro 2015 e Pseudomuro-2015, vengono pubblicate nella Rivista Il Convivio n. 76, -Trimestrale di poesia arte e cultura, p. 49.


TREVISO 2019: L’opera Mantello giudaico-2017, viene pubblicata nel Catalogo “Europa in Arte”, alle pagine 50 e 51. Edizione Platinum Collection, con presentazione di Vittorio Sgarbi.


PALERMO 2021: La rivista Art Now - periodico d’arte, pubblica alla pagina 107 l' intervista “Gli artisti si raccontano”, a cura di Anna Soricano. Pubblica insieme all’opera Rosso pompei-2017.



Partecipazioni a importanti rassegne:

2013 - XI Biennale Internazionale per l’Incisione - Acqui Terme, Alessandria

2015 - ART FAIR di Amsterdam, con la Art Gallery di Heerenveen, (NL)

2016 - INT’L ART FAIR di Oxford, UK con la Art Gallery di Heerenveen, (NL)

2017 - Arte Padova 2017



Biografia:

Docente di Storia dell’arte presso i Licei di Civitanova Marche, Artista e Design Grafico, Stefano Catalini nasce a Mogliano Marche nell'inverno del 1961. Comincia a disegnare e dipingere dall’età di 10 anni. Su consiglio dell’insegnante di Arte della scuola locale nel 1976 si iscrive all’ISA, nel 1979 accede all’Accademia di Belle Arti di Macerata, dove è allievo di Remo Brindisi, Eraldo Tomasetti, Magdalo Mussio e Armando Ginesi, conclude gli studi nel 1983. Nel 1978 organizza la prima esposizione personale all’interno di una vecchia tipografia, l’anno successivo si appassiona alla fotografia in bianco e nero, costruisce una camera oscura in un vecchio casolare di famiglia dove dipinge da anni. Nel 1980 con tre allievi del suo corso di pittura all’Accademia, fonda il Gruppo G.E.F. Nella prima metà degli anni ottanta nascono l’interesse e la passione per la comunicazione visiva e la stampa serigrafica e litografica, settore in cui si afferma per rigore stilistico e formale, per più di venti anni svolge l’attività di design grafico e di direttore creativo, con il suo studio e come freelance presso Agenzie di pubblicità sul territorio nazionale. Ha collaborato alla realizzazione di mostre ed eventi culturali, come ad esempio il Quinto Centenario della Morte di Carlo Crivelli per la Regione Marche, campagne pubblicitarie a tema sociale per il Comitato provinciale Unicef di Macerata, il progetto grafico per l’allestimento del Museo naturale nel Centro di Educazione Ambientale a Valleremita, Fabriano (AN), il progetto per il Museo Archeologico di Belmonte Piceno (FM), continua silenziosamente la produzione pittorica. Nel 2009 si riaccende la passione per la stampa d’autore, incomincia una attenta produzione di incisioni calcografiche. Ha partecipato a numerose esposizioni personali e collettive dal 1978 a oggi, in Italia e all'estero. Sue opere sono presenti in collezioni pubbliche e private (Jesi, Montefano, Cosenza, Varese, Amsterdam, Heerenveen, Stoccolma, Roma ecc.).


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Awards: 2019 - First Prize in Figurative Arts “Antonello da Messina”, III edition - Il Convivio International Academy, Castiglione di Sicilia – Catania. 2020 - Critics' Award at the "Premio di Arti città di Torino", 1st edition. 2021 - Noted by critics for the "Italian Artist Award". Zero Uno Gallery in Barletta. Bibliography: COSENZA 2014: The volume “Art Routes in Italy” is published (Rubbettino editore), edited by Enzo Le Pera, it is present on page. 71 with Muro-fragmento-2009 and Muro 012. VARESE 2017: The work Pseudo-muro-2015 is published in the edition of the Catalog L'Elite 2017, Art Selection - Special Edition F. Daverio. MILAN 2017: The works Pseudo-fossile III-2015 and Muro-2010 are published by Il Quadrato editions, in the volume “Painters and Sculptors - Proposal to the Svenska Akademien. Royal Swedish Academy of Sciences for the awarding of the Nobel Prize to Artists", on page. 239, edited by Giorgio Falossi and Lorenzo Cipriani. VARESE 2018: The works Foresta Fossile-2014, Muro nero-2014, Muro fragment-2009, Notturno-2008, are published in the edition of the Catalog L'Elite 2018, Selezione Arte - Special edition F. Daverio. CASTIGLIONE DI SICILIA (CT) 2019: The works Rosso Pompei-2017, Frammento-muro 2015 and Pseudomuro-2015, are published in the magazine Il Convivio n. 76, -Quarterly of poetry, art and culture, p. 49. TREVISO 2019: The work Mantello giudaico-2017 is published in the “Europa in Arte” catalogue, on pages 50 and 51. Platinum Collection edition, with presentation by Vittorio Sgarbi. PALERMO 2021: The magazine Art Now - art periodical, publishes the interview "The artists tell their stories", edited by Anna Soricano, on page 107. Published together with the work Rosso Pompei-2017. Participations in important exhibitions: 2013 - XI International Biennial for Engraving - Acqui Terme, Alessandria 2015 - ART FAIR in Amsterdam, with the Art Gallery of Heerenveen, (NL) 2016 - INT'L ART FAIR in Oxford, UK with the Art Gallery of Heerenveen, (NL) 2017 - Arte Padova 2017 Biography: Teacher of Art History at the high schools of Civitanova Marche, Artist and Graphic Design, Stefano Catalini was born in Mogliano Marche in the winter of 1961. He began drawing and painting at the age of 10. On the advice of the art teacher of the local school in 1976 he enrolled at the ISA, in 1979 he entered the Academy of Fine Arts of Macerata, where he was a student of Remo Brindisi, Eraldo Tomasetti, Magdalo Mussio and Armando Ginesi, he concluded his studies in 1983. In 1978 he organized his first personal exhibition in an old printing house, the following year he became passionate about black and white photography and built a darkroom in an old family farmhouse where he had been painting for years. In 1980, with three students from his painting course at the Academy, he founded the G.E.F. Group. In the first half of the eighties, his interest and passion for visual communication and silk-screen and lithographic printing were born, a sector in which he established himself for stylistic and formal rigor. For more than twenty years he worked as a graphic designer and director creative, with his own studio and as a freelancer at advertising agencies throughout the country. He has collaborated in the creation of exhibitions and cultural events, such as the Fifth Centenary of the Death of Carlo Crivelli for the Marche Region, social-themed advertising campaigns for the Unicef provincial committee of Macerata, the graphic project for the setting up of the Natural Museum in the Environmental Education Center in Valleremita, Fabriano (AN), the project for the Archaeological Museum of Belmonte Piceno (FM), silently continues the pictorial production. In 2009 the passion for art printing was rekindled and a careful production of intaglio engravings began. He has participated in numerous personal and collective exhibitions from 1978 to today, in Italy and abroad. His works are present in public and private collections (Jesi, Montefano, Cosenza, Varese, Amsterdam, Heerenveen, Stockholm, Rome etc.).

1982 - A mirrored territory - Macerata.
1983 - G.E.F. Group - Ancona,
           - G.E.F. Group -  Ascoli Piceno,
           - Collective painting - San Egidio alla Vibrata (TE),
           - Painting collective - Montecosaro (MC)
1984 - Painting collective - Macerata.
1985 - Marguttiana - Mogliano Marche (MC)
2000 - Art at the Torrione - Loro Piceno (MC).
2007 - Marguttiana - Macerata.
2008 - Marguttiana - Macerata.
2010 - Self-portrait – Macerata,
           - Women's Day - Macerata.
2011 - Artists under pressure - Loro Piceno (MC),
           - In the name of action - Montecosaro (MC),
           - Biblia Pauperum, Exhibition of sacred art - Jesi (AN),
           - Lorenzo Lotto - Monte San Giusto (MC)
2012 - Two-person exhibition - Colmurano (MC)
2013 - XI International Biennial for Engraving - Acqui Terme, (AL)
           - Intaglio exhibition at Casa Raffaello - Urbino.
2014 - And In You Beauty Relives.. - Fermo,
           - Absence more acute presence – Macerata,
           - ArtHeerenveen in Heerenveen, (NL),
           - Red in Friesland - Heerenveen, (NL),
           - Agar Sorbatti Award - Loro Piceno, (MC),
           - facéARTE - Merano (BZ).
2015 - Structuur divisie - visie van de structuur - Heerenveen, (NL),
           - ART FAIR - Amsterdam (NL),
           - Archeologie van de communicatie aan het beeld van zijn dubbelrol - Heerenveen, (NL),
           - Blauw” - Heerenveen, (NL).
2016 - Wear one - art exhibition - Milan.
           - INT'L ART FAIR - Oxford, (UK),
           - Structuur divisie - visie van de structuur, ed. Italian - Pescara,
           - PERISCOPE on art in ITALY - Corigliano Calabro (CS).
2017 - Invisible cities - Rome,
           - the sign of memory - The memory of the sign - Avezzano (AQ),
           - InVisible Universes – Rome,
           - Many possibilities – Barletta,
           - States of Mind – Rome,
           - A Great Adventure – Barletta,
           - ArteFiera Padova,
           - Third Millennium Perspectives - Acri (CS),
           - Red – Pesaro,
           - Emotions in art - Naples.
2018 - 5th Gallery - London, United Kingdom,
           - Timeless art - Venice.
2019 - Disabil-Art - Corridonia (MC).
2022 - Visual Arts – Turin,
           - Human Rights - Civitanova Marche (MC),
           - Monochromatic dynamism - Turin
2023 - PerSè Visions – Turin,
           - The Journey – Macerata,
           - Beyond time - Matelica (MC).

1982 - Works - Municipality of Amandola (AP).
2005 - Works 1985 to 2005 - San Severino Marche (MC),
           - The material eye - Camerino (MC).
2010 - Sedimented matter - Loro Piceno (MC).
2012 - Material metaphysics - Muccia (MC).
2013 - Materially - Macerata
2014 - Dialogues and silences - Amsterdam (NL).
2018 - Modern figuration - Venice.
2019 - “T” - Corridonia (MC),
           - Works at the Hugo Boss gallery - Morrovalle (MC).

Antonella Ventura

Material sedimentation
He studied art at the Academy of Fine Arts in Macerata (painting section). At the beginning of the 80s he also extended his creative energy to the field of graphics, with a particular eye on photography and printing techniques, giving rise to an accurate, precise and silent work of introspection of the surrounding visual world, of which Stefano Catalini first becomes a technician and then a complete translator.
The completeness of Catalini's articulated artistic field can be deduced from the different languages, graphic and pictorial, certainly also sculptural in the future but, above all, from the exhausting and constant research work carried out. Lively experimental in the combination of styles, essentially material, he conceives the artistic performance as a slow erosion of the form, as a regular and staid involution of the line and the sign, up to an authoritative discovery of the very essence of the knowledge of the magma- material.
The spatialism of his graphic work-manifesto (the work of the exhibition on Crivelli) is interesting, where the concept of communication is combined with aesthetics, soberly defining the difficult balance with ethics. If there are evocative works experienced with the emphasis of his precious and rare emotional states of mind, his painting is charged with a healthy, linear and clean sensuality that lives in monochromatic painted canvases of strong bright colours. Aligned, incisive and distant like the oils of the German neo-expressionists, «because nothing is more beautiful than a pulsating real life».
In reality his art is placed as a natural cycle of Mother Earth, which slowly makes substantial changes every day, which the average man does not notice, except in exceptional cases. Stefano Catalini's art is a metaphysical process regulated by the accurate "deposition" of colors and oils on the surface, where the underlying analysis is the almost mathematical calculation of the absence-presence of the incisiveness of the Catalini man on life .
Life is the canvas, for Stefano Catalini. Ancestral and paradoxical emotions, like enormous channels of passage, translate physical-liquid, expanded and multisensory states of thoughts and words. Applied or even practical theoretical philosophy, where the design of "God" is a work that man carries out but does not "know".
In fact, what would be useful to Catalini's work is a more devout assertion, a faithful application that would certainly lead to a complete thought; there are in fact principles, philosophically open and not "recovered", such as the concept of spaces and Man, practiced in Catalini's pictorial work, but not resolved: anxiety prevails over the balanced resolution of the collocation of space-time -man, even though all three "actors" are present in every work. Catalini's work is objectively Art, since it has inherent principles that make it so: the universality of contemporary man, who has seen everything and retains only the essential, and a real "contemplative" state of the contemporary intellectual who awaits, he doesn't know how and from where, a strong change.

There is anticipation in Catalini's work and perhaps this is objectively the most interesting reading; even if in each of his works, however, the ways of perceiving the painting change: that is, he is open to different "angles" and new formats are experimented with, a reflux of the world of graphics. Each composition is a simple moment or episode of an internal process of meditation. The fragment character, the lines, the suspensions, the slight irregularities or asymmetries distributed on the surface speak of how the experience of painting is lived internally, of the need for orientation which can be translated into every human experience: man is alone, fleeting and lost in a vast "visual" field.
The frame or the external margin of the frame are conventional delimitations that are in many ways inappropriate.
The continuous and fragmentary reportage coincides with the photographic relationship, almost a deposit of images, a sort of collection of objective elements, frames that have escaped most and that Catalini uses with the frequency of the speed of light, through the cornea of his eye and/or any advisor tool (from machine to computer). On the other hand, a slow transmutation of the same concept takes place, which has become sedimented matter, with a narrative dimension, where the "archaeological" appearance created by it is striking.
A work of pure cosmology with contributions of biomolecular engineering, it takes us to environmental changes, or to sewage deposits by post-industrial man.
Faced with a futile and naively exhortative dimension of the work of art, something that has been overcome in modern times with the instrumentation of the camera, Catalini responds with a composite "insertion" of biomorphic elements, which cite ongoing changes perpetrated with and against man himself, therefore creating a work that has kineticism, a continuous movement on itself and on the same axis, like the Earth, from which it takes all the elements except the presence of any human form.
The concept of the presence of man on this earth is, in fact, secondary for Catalini: man belongs to the Universe and is not only relegated to this fantastic reality which is Mother Earth, which man himself does not love, since he does not understands. In fact, for Catalini, understanding "something" means listening, collecting every element, allowing yourself to be penetrated and merged with that same "thing", losing consciousness of that ego-centred ego, in which man has made everything revolve around their needs.
Art, scientific experimentation of a thought in movement is Catalini's artistic production which slowly arrives at the three-dimensional representation of the creative project, a sort of geo-material installation where the narrative models encourage question marks rather than providing answers .
The word "abstract", used erroneously for a long time in certain circles of criticism, does not really exist or rather is intellectually obsolete: this is all the more evident in Catalini's works, which speak of fusions, liquid-solid, impracticable, and which open up to evolving chemical-physical perspectives, in a word "materic metaphysics", that is, a metaphysics of elements not emotionally played on the sense-non-sense of things but on the feel-not-feel of Matter.
Catalini's secret and obsessive purpose is to create a work that develops internal mechanics and processes of social evolutionary growth, where behind the apparent simplicity of the gesture there is the contrast between the opposing "psychological" qualities of the materials used: the wax is hot and mouldable, wood is vibrant and tense, metal is cold and rigid; contrast attributable to a strong message, shaped to be pungent.
Different dichotomies, although already widely practiced since the second half of the last century, as by the great Joseph Beuys, but slowly forgotten by the Art of contemporary disengagement, which Catalini instead practices, detached in stillness-silence far from the superfluous and ostentation tout court.
One might say of Stefano Catalini that he is a man of other times and his "stuff" of other times, if not that time does not exist, is a mere human construction: what ultimately remains is his matter-energy, like Stefano's works.

Pollenza (MC), August 2010


Daniele Cristallini
Material metaphysics
Matter, color, layers, combustions, balances, experience, curiosity, culture, emotions, communication, silences, determination, expectations, aesthetics, perception, interpretation, rigor, freedom, discipline, enthusiasm, constancy, discretion, sensitivity.
These, in my opinion, are the elements that structure the life and therefore the work of Stefano Catalini, student and friend of a generation of masters dedicated to artistic and humanistic teaching who moved without influencing authors of great importance who were then entrusted with the difficult task of reconstructing a path that otherwise would have increasingly gone towards the total dismemberment of knowledge, thus allocating great sensitivity to having to deal with doubts and lacerations caused, often artfully, by the convulsions of a century devoted to "excommunication" .
This exhibition is and must be a moment of verification for Catalini, for me the confirmation of good work.
Dear Stefano, continue to let silence speak, he still has a lot to say.

Civitanova Marche (MC), July 2012


Alessandro Leanza
Materially
If we look at the four aspects of human knowledge, Alchemy, Philosophy, History and Science, we can see them as the reflection of the four elements that have made life on our planet possible. Air (alchemy), fire (philosophy), earth (history) and water (science)
they are all elements, composed of different molecules such as carbon, hydrogen, helium, etc, etc,
all different from each other but all coming from the same primary energy.
From the vibrational world, the mineral world is born where each mineral is unique and different from the others even if they all come from the same electrons of which they themselves are composed. The same applies to the plant and animal worlds where we have many different expressions which however are defined in the individuality and in the set of species present in each of these worlds. Precisely in the animal world, man, the last evolutionary link in the chain, is nourished on multiple levels by the same elements of which he is composed, he is the expression of uniqueness in the multiplicity of this evolution and lives in the duality of everything that exists. The uniqueness and duality of positive and negative, the uniqueness and multiplicity of the elements of which the world is composed which allows it to exist as body/matter and thought/mind.
The investigation that leads Stefano to the contact and creative manipulation of matter which rises to the highest level of nourishment for the human being is therefore fascinating.

Macerata, November 2013


Claudio Nalli
THE ARTIST IS HERE… WE STILL NEED HIM!

“Art serves no purpose; it has lost its nature. Art is dead!” These are recurring phrases which are not correct. Art is not an overtone. Artistic expression is deeply rooted with-in man. To diminish its importance and function will not serve to erode away its existence. The desire for its representation has been in existence since the Stone Age and manifested itself long before economics, religion, science and philosophy…..Art is needed by man; it is a spiritual requirement. Art displays itself deep in the knowledge that reality is greater than any space man could ever see or touch. Reality, even for the primordial wizard, stretched far beyond the horizon. The “world” was in the imagination. He intuitively realized, before all others, that the “world” identified itself with the “vision of the world” and that this vision was in turn what determined reality.
The creative imagination characterized man as being greater than other living beings; providing him with special powers and modifying his genetic code over time. Since the time that man began living in caves, he felt a need to simulate worlds, events and stories.
The capability of organizing the various ramifications of possible worlds, real or narrated ones, became a peculiar impulse to the evolution of the species. In doing so was to be distinguished as the infant game of all the civilizations and of all the periods of time; it’s no accident that the artist feels the necessity to go back to his childhood to be useful. In fact, when we are children, the configurations of the world are infinite and they are all good. Since the prehistoric times, the wizard artist was a rarity. He could see the structure of the possible worlds better than other ones; he could create them, destroy them, modify them and make them available. The actions, the words and the markings of this wizard artist affected the stability of the clan.
Everything was slowly directed towards the idea of the work of art. Art assumed various functions, but the first and the most important one still remains the same: to improve the structural fluidity of the human genetic code, continuously adapting it to the best possible world. The rituals as well as the symbolic and operative structures of art were the foundation for other disciplines. Therefore, the work of art is an “open” synthesis/simulation of a real/probable world that helps the common man to see what it is which escapes him; to experiment with a lost ritual, buried in the recesses of his memory, but very much still alive.
The works of Stefano Catalini originate from these paths of thought and from these contents. Their stable quality of texture and a close eye for detail, which matter sublimated in to archetypes that easily attracts us, the sustainable fine markings of the engravings and the skill, typical of a person born in Le Marche, accommodating the missing, the vain and the incidental, giving them back a life and a home; everything which helps us to penetrate the invisible, it accompanies us, with humility, before the shadow of a better man, more sensitive, more balanced, more in harmony with the world of the living, and upon arriving there, it is our duty to grow and to choose, to abandon the shadows and follow the best man.
Art requires the activation of the Being, the motion of the memories and of the perception. The passive individual will understand nothing of art; of its meaning or of its value, he will understand nothing of himself and because of his lack of knowledge of the world, he will not evolve.
Catalini gives us coherent configurations of the world which demands humility and an intimate, deep complicity. His works ask us for participation and passion to take us to that better world where everything has value, the marginal thing even before the strict icon. Thus for Catalini, a burnt pizza, a used carton or the impression of an empty bottle are not entropy, they are the traces of a way which might lead us mysteriously to where we have always desired to be, after a lifetime of waiting.

Macerata September 2013


Claudio Nalli
Stefano Catalini's art is born from an original, deep, heartfelt and shared constructive and educational impulse with spontaneity and naturalness. Each of his works, small or large, is both the origin and emanation of infinite other expressive possibilities, all captured at the right moment with wisdom, humanity and refinement. The artist from the Marche region always tactfully offers his "pieces" to the public as if they were delicious dishes necessary to establish the stages of an agnostic ritual-path. Catalini always aims for the maximum quality of the material (and of perceiving/feeling/touching) but without showing off shameless "effects", or "intimidating" textures capable only, in reality, of making us lose contact with the best part (because generally unheard of) of aesthetic rituality. His works all have a great potential for growth and proliferation because they are "without margins", they make us think of sections of the intrauterine life of existence, an infinite life and anything but sine macula.

Macerata, September 2016


Artitalia Edizioni - Roberto Perdicaro
Alchemist, poet of matter and demiurge of the sign, Catalini conducts a scrupulous investigation using an artistic language with a noble and primitive trait. Its perfect manipulative synthesis meets the porosity of surfaces dried up by time, furrowed by emblematic cracks that cannot leave one indifferent: in fact they know how to tell their wonderful uniqueness, between aesthetic purity and luminous vibrations.

Varese, November 2016

Stefano Catalini's work focuses on the value of matter and is condensed with evocative suggestions that refer to environments and images of internal journeys. There appears the desire to rediscover traces, elements of memory, which resurface in a subtle lyrical and personal vision. It is a painting made of signs, combinations, formal suggestions where all the multiple iconographic and creative possibilities are explored. The sign operation becomes a search for intense characterization, which leads us to emblematic places, pervaded by an intense interior silence. The fragment becomes a symbolic element that presents itself as the synthesis of a complex and refined formal structure, rich in allusive inspiration.

Varese, November 2017


Diana Cardaci
The poetics of matter
“Stefano Catalini's poetics of matter allows the imprint of humanity to shine through the humblest materials. It is the expression of a hidden need on the part of man and of man as an artist to resist the finiteness of life, attributing meaning to the roughness of existence, to gestures. A need to access the profound humus of the meaning of things. Catalini's works carry the wounds and scars of stories, of survival in the darkness and harshness of what one faces every day, they express in the creative gesture an ancestral need for sublimation of everything that escapes understanding. Sublimation that is accomplished through an artistic practice that is also validated in the performative moment of its creation. Mindful of the artistic path of Tapies, Dubuffet and above all Burri, with whom he shares a particular central Italian sensitivity, the artist from Macerata explores the material with a lyricism that has its roots in the barren land of existence, in its deserts, in its walls of rock and in its incessant vitality.

Rome, June 2017


Il Quadrato Edizioni - Giorgio Folassi
Stefano Catalini's art always deals with the problem from a conceptual, abstract aspect, but always above all, of existential relevance, approaching the representation of the scene, both from the point of view of the pictorial configuration and from that of the expressed context through it. Art has the duty to be such and it is when it anticipates and exalts the problems of society and history. The artist could only choose this style, this way of communication for such an important moment for civilization: Wall, wall, wall, fragment. The content is significant. But there is no political or ethical position, there is the obligatory choice of the artist who observes the actors of the tragedy from the back of the audience, does not step into the limelight, does not take part in the fight, but runs into the studio to pour on the he canvases emotions, feelings, accelerations, and above all truth, the implied one, the hidden one, the one felt by him as an artist rising from the depths of his soul. He could only choose the abstract formula to communicate this important line: the abstract of a color corroded by a sun that has dispersed its lines and shapes. Yet there is always an upper part of the painting detached in a precise way, perhaps in one color, to indicate an opening or an end, to indicate a hope or a total block. We are pleased, and it is to be observed with faith, this small part of the picture, because it has a different approach, it announces a resistance, a possibility of enlargement, of dilation, it is the faith of man who rises above seeking himself in the light of truth and an intimate civility. The vast wall remains below. Stripped of its ornaments, its disguises, divided humanity shouts its truths. Corrosion is visible, it is represented by the artist's brushstroke and thoughtful gestures, but it also has a birth made of stones and prejudices, of lime and resentments, of cement and fears, a wall or wall put up by suspicious, violent operators . Matter transforms differently over time and many factors can affect the mutation process. Thus life too is transformed with a change that is determined both by what we are and by what happens to us. In the light of these considerations, in the vision of today's events, in their personal or mass reflections, Stefano Catalini's painting no longer has constraints of abstraction, it becomes enormously easy and clear. The message is painted with colors and many small signs. The observer listens to him in the silence of his dark intimacy. He justifies it or denies it, crumples in it or frees himself from it, forgets it or remembers it. The artist suggests neither remedies nor panaceas, he poses the problem, and with this he truly creates true Art.

Milan, November 2017


Zerouno Gallery - Anna Soricano
With Stefano Catalini, art comes from experience, even from childhood memories.
By entrusting a high tactile value to his works, the artist highlights how action and matter are fundamental elements for understanding. The material is, after all, a form of life which, with discretion and cleanliness, becomes the protagonist of the works, never invasive, on tiptoe it seems to dance on the works like demi-pointe in the theatre. Starting from the principle according to which the work is constructed with touch, we witness chromatic studies, visual distributions and backgrounds of great visual and tactile impact. With Catalini's works we witness a completeness between touch and sight, in a continuous discovery of the work of art which becomes a world to be explored in a wise and mature gestural dance.

Barletta, November 2017


Maja Desnuda - Silvia Arfelli
Articulated along a well-structured direction from a design point of view, each of Catalini's compositions tends to open narrative glimpses that overcome the semantic constraints of representation and which however are highlighted with communicative and significant gestures, the artist's aesthetic canons are certainly not transversive but solidly anchored to that now historic informal tradition which, having overcome naturalist figuration, has opened up new artistic paths based on chromatic visionaryness and spatial dynamism, overturning in the pictorial gesture an interiority that can only be expressed in symbolic symbols. This artist opens luminous spaces of pictorial material that lends itself to a one-tension representation, the drafting appears wrinkled and pasty, explosive in the clear lines but sensitive and airy in the dialectical encounters between the primary colors and the deepest black. The pastiness that is deposited on the surfaces of the canvas reveals intriguing interpretative potential and if we observe the illusionistic quality of the lumps of color it is possible to read a sort of writing emerging from the darkness with an expectation of a dawn that brings with it, as we know, the more revealing dream messages, as can be written on the wall which is the title of the work, here the pictorial sign is exalted in an expansive gesture and in an instinctual drive controlled by the rigorous spatial layout which is proposed differently each time a new chromatic and narrative statement. The visual fullness of these compositions announces the psychological complexity of an artist capable of extricating himself from the most unattainable depths of introspection and yet guided by a passionate reason which translates into the sequence of an executive technique exercised with a firm hand and capable of consciously preparing the results visuals he wants to achieve. Stefano Catalini's pictorial handwriting can also be read as the interweaving of a psychic automatism modeled on the studied structural ideation which is then the visual touch that marks the stylistic signature and recognisability of the artist. However, his expressive reasons also correspond to a very personal rejection of pre-established mental geometries, preferring the liberating option of a personal aesthetic which is based on compositional balance as a value in itself and in the organized precision of visible space, retaining his creativity in falling into arcane symbolisms or in those intellectualistic ruminations that have often tarnished the reliability of figuration theorists.

Forlì, December 2017


Artitalia Edizioni - Roberto Perdicaro
The material and the sign become the fundamental elements on which Stefano Catalini bases his artistic research, which results in a communicative process of strong and passionate expressiveness. He creates landscape and representative evocations through a formal abstraction that becomes an aesthetic language of sensitive suggestion. The multi-material aspect gives body and creates a structural modulation that is enriched with dense and concrete chromaticism. A game of tonal relationships and color backgrounds is created which determine correspondences and connections. The signs translate into traces, into a spontaneous narrative intuition, allusive of a reality freely reread and interpreted, with the awareness of composing a poetic as well as aesthetic process. A sort of naturalistic metaphor is thus created, concretized in internalized and significantly resolved images.

Varese, November 2018


The Convivio - Enza Conti
The three works Frammento - muro, Pseudomuro and Rosso Pompei immerse us in contemporary art, a language that investigates emotional expressions and entrusts the main role to the gesture of painting, an act that observes and spreads on the plane, be it composed from canvas or wood, emotions made of colours. In Stefano Catalini there is the study of the light-space relationship with artistic action that makes use of lines and signs, which through formal abstraction create images that arise from the awareness of the present, a complex research that transcends the formal phenomenon, as art in its entirety is creative-aesthetic research. In Frammento - muro the observer immerses himself in the space/time dimension; the white that encloses the central part of the work recalls the essence of a new knowledge, as a symbol of the visible world. The search for expressiveness in an ultra dimension, in fact, is also found in Pseudomuro and Rosso Pompei, where the large linear features offer ample spatiality.
In Catalini's works we find abstract forms and natural reminiscences, original works that highlight a generative force that comes to expressive life in color; his language is characterized by the way in which he transforms the surface. His way of conceiving art refers us to Umberto Eco who states that "abstract art gives the possibility of a series of readings following the different moments within the work" and leaves us to conclude that in Fragment - wall, Pseudomuro and Rosso Pompeii there is no static as each chromatic background seems to follow the philosophical translation of reality.

Castigllione di Sicilia (CT), March 2019


Maison dell'art Academic Center, Padua - Carla d'Aquino Mineo
The Pompeian red experiences a structural dynamic in the optical illusion and in the compositional rhythm which detaches itself with chromatic force from the wrinkled folds of the material, between the mottled whites and the dusty grays to advance with a compactness of the image into an unknown dimension in the escape of the spirit and transcend matter in a dreamlike and magical abstract formulation for a new language of art.
Pompei red 2017 - mixed media on canvas - cm. 60 x 50

Padova, June 2019


The pictorial texture reveals in its clarity a geometric rigor and a formal balance in the compositional construct, while the brightness of the colors contributes in harmonious harmony, united in transparency with the fragment of wall in an ancient patina, revealing the porosity of the mottled and engraved material, like metaphor of a spatiality experienced over time, in which the creative intervention determines a timeless and neo-plastic sense, through a new conceptual analysis for an unprecedented line of art.
Wall fragment, 2015 - mixed media on wood - 50 x 45

Padova, June 2019


Claudio Nalli
“T”
“He You don't dream deeply with objects.
To dream deeply you need to dream with matter."
(G. Bachelard)
“T” for Texture. “T” for Plot. “T” for Weaving. “T” for Earth. “T” for Tatto. “T” as Surface tension. “T” as in: <<Everything is for everyone, in all points, in all places, in all moments of time […]” (G. Bruno). Matter is never just “brute matter”; the surface is never “superficial”; the texture is not a simple covering or casing. The assumption to start from is this.
All things have an intrinsic will, an energy, a conatus and a voluptas that pushes them to want to be, to develop a power of being, and the more things persevere in their effort "to be", increasing their necessary power , the more they are happy, they express joy and spread joy among entities, as is the nature of Substance; their voluptas, among other things, unfolds, or rather wants to unfold, right here on Earth, with concrete and, we could say, "tangible" effects. (B. Spinoza, Ethics)
I add to the two great philosophers just mentioned our great and beloved Giacomo Leopardi who on page 4253 (original numbering) of his Zibaldone di thought expressly says that matter "thinks" and "feels", and if we do not openly recognize it it is only because we know almost nothing about his way of being and acting.
Returning to Spinoza, and interpreting the "heretic" Spinoza a bit, I would like to say that "things" (meaning with this syntagm the same things on which our James reflected) want to be exalted, they want to be spread, they want to be put into relationship with each other; all entities want to meet. All things, even the most banal, want to be re-cognized, re-united and re-created so as not to be dispersed. And then Matter, which "feels" the presence of the creator, which perceives the artist, or the shaman (E. Morin, On Aesthetics), calls the creator to itself, attracts him, with methods apparently difficult to understand and to be rationalized, approaches him with serendipity, with synesthesia, with sudden apophenias and with empathic faculties, opening the doors of perception (W. Blake) which allow him to overcome "surface tension". At this point, having overcome the Cartesian distinction between Res in a Spinozian way, the mysterious emotional topologies, the spontaneous epidermal cartography, the tactile maps, the handmade mnestic geography and, in summary, the entire narrative fabric that characterizes the important artistic work of Stefano Catalini are born placing it on a high level linguistic register.
The works on display represent points in the space of an autobiographical "empathic atlas" that today's neurosciences would have no difficulty in supporting or even taking as an example to demonstrate the results of brain imaging. Briefly, because here it is not possible to illustrate all the correspondences between material-informal art and neuroscience (task of neuroaesthetics), I would like to mention some key topics which, if developed, can make it clear the extraordinary relationship that exists between man , its environment and art: mirror neurons (Rizzolatti, 1995), embodied simulation (Mallgrave, 2016), emotional intelligence (Goleman, 1999), the top-down and bottom-up patterns of the brain ( Pankseep, 2012); the fundamental importance of the sense of touch and skin (Montagu, 1971; McLuhan, 1962); the incredible selectivity and specialization of neuronal cells (Zeki, 1999). The so-called neurosciences are very interested in art because they recognize in it and in it, since prehistoric origins, greater potential to simulate the invariance of the world experienced daily compared to other consolidated heuristics and, consequently, the best possibilities of offering the man, portable, reticular and eco-sustainable modes-structures of adaptation and evolution. From this it must be deduced without delay that the arts, and in particular the arts that develop the maker-workshop culture, must return to the center of the education and training of the new generations who risk being diverted by exclusively virtual forms of neotribalization.

Macerata, August 2019



The artist, Stefano Catalini, accepts commissioned works regarding portraiture and the personalization of works.

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