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In chains

In chains

In chains

Utrillo : madness

Technique : photography with Olympus 620 on fine art print.

Print run 60 x 40 : 3

Specifications
Light source - Ex.: Monochromatic, Two-color Polychromatic
Genere - Es.: Fantasy, Still life, Religious, Landscape Conceptual
Subject represented - Ex.: Horses, Fruit, Cats Drapes.
Technique used - Ex.: Oil on canvas, Pencil on paper Olympus 620 on fine art print.
Style dell'opera - Ex.: Surrealism, Cubism, Abstractionism Abstractism.
Artist data
Artist experience - Ex.: Emerging, Expert Expert.

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€1,000.00
Ex Tax: €1,000.00
  • Availability: Unavailable
  • Dimensions: 60misura x 0misura x 40misura

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Roberto
Roberto Pestarino
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Pestarino Roberto nasce il 6 Novembre 1966 ad Alessandria, vive ormai da 20 anni in campagna e senza
televisione
.
Inizia ad interessarsi di fotografia nel 2010 e nel 2011 comincia a sviluppare ricerche a tema.
Nel 2012 i primi successi con fotografie d’architettura: 3 menzioni all’ anniversario I.P.A. e una foto
accolta nell’ archivio della biblioteca nazionale di Francia.
Si interessa a molti soggetti senza riuscire a focalizzare una strada definita, passando anche attraverso
il bianco e nero.
La svolta arriva sviluppando il progetto dei manichini nei negozi. Una ampia serie di fotografie dove il
manichino alla sera trova nelle luci di vetrina un nuovo aspetto e il volto si umanizza di espressioni mai
pensate per un viso amorfo.
Il progetto dei manichini lo attrae ancora adesso, perché le combinazioni nelle vetrine di luci e ombre,
lo sfondo spesso realizzato ad arte a cui si sovrappongono spesso surreali e comici riflessi fatti di linee,
son sempre una occasione interessante per lui.
Trovando nel colore con poca luminosità e alti contrasti una via espressiva valida la adotta anche in
altri campi, tra cui le foto in studio, e riflessi di luce sui palazzi. In pratica ha associato la sua passione
primigenia per l’architettura con un uso assai estremo di teleobiettivi per cogliere luci, colori e forme
che appaiono nei momenti dove la luce solare raggiunge criticità: un passaggio solo parziale di nuvole,
un alba dopo la pioggia, e simili condizioni.
Spende tempo anche verso altri soggetti fotografici , come i cartelloni pubblicitari e fiori decadenti.
Si dedica anche alla fotografia di denuncia, sia sulla condizione umana che dell’ambiente in cui viviamo.
Realizzando opere in studio di oggetti combinati insieme per veicolare messaggi dal carattere piuttosto
incisivo.
Ha poi iniziato un percorso di progetti con modelli volontari in studio, per parlare o raccontare il nostro
mondo.
Attualmente dopo aver riprodotto in forma allegorica un dipinto fiammingo del 1550 si dedica a
ricercare la modernità e risposte pensando ai 4 cavalieri citati nell’ apocalisse di Giovanni.

..........


Pestarino Roberto was born on 6 November 1966 in Alessandria, he has been living in the countryside for 20 years and without
television
.
He began to take an interest in photography in 2010 and in 2011 began to develop thematic research.
In 2012 his first successes with architectural photographs: 3 mentions at the I.P.A. anniversary and a photo
accepted into the archives of the National Library of France.
He is interested in many subjects without being able to focus on a defined path, also passing through
black and white.
The turning point came when he developed the project of mannequins in shops. A large series of photographs where the
mannequin in the evening finds a new appearance in the shop window lights and the face is humanised with expressions never
thought of for an amorphous face.
The design of the mannequins still attracts him now, because the combinations in the shop windows of light and shadow,
the often artfully realised background overlaid with surreal and comical reflections made of lines,
are always an interesting occasion for him.
Finding in colour with low brightness and high contrasts a valid expressive way he also adopts it in
other fields, including studio photos, and light reflections on buildings. In practice he combined his passion
for architecture with a very extreme use of telephoto lenses to capture light, colours and shapes
that appear at times when the sunlight reaches critical points: a partial passage of clouds
a sunrise after rain, and similar conditions.He also spends time on other photographic subjects, such as billboards and decadent flowers.
He also devotes himself to complaint photography, both about the human condition and the environment in which we live.
Producing studio works of objects combined together to convey messages of a rather
incisive character.
He then started a course of projects with volunteer models in the studio, to talk or tell about our
world.
Currently, after reproducing a Flemish painting from 1550 in allegorical form, he devotes himself to
searching for modernity and answers thinking about the 4 horsemen mentioned in John's apocalypse.




Pesaro New Art, Alexander Museum Palace Hotel 2023.

Espace Art Gallery, Brussels January 2023.

Dakshin Dinajpur Film and Photography Club 2022.

Badiani art space: nothing hill, London 2021.

Ass. cultural : you are the art virtual exhibition march 2020

South Korea (December 2020) Galleria F

Venice, San Vidal gallery, 2019.

Palazzo Ferraioli Rome: between art and visions, 2018.

Gubbio Palazzo del Bargello, artistic excellence 2018.

Vercelli : Sguardi 2018.

Chania International Photography Festival, 2018.

Treviso festival of photography 2018.

Blank wall gallery Athens, city panoramas 2018.

Colors of humanity Art Gallery Everett (Pennsylvania): Skies 2018.

Palazzo Fantuzzi Bologna March 2018.

Empty wall gallery Athens, fine art, 2018.

Blank wall gallery Athens , people and winter 2017.

Triennial of Photography Venice 2017.

Humans Barcelona Cordoba Spain 2017.

Galleria 1650 Los Angeles Echo park : Self-portraits 2016.

Bicontinental photographic circuit 2015: present with three photos.

Group show at The American Mountaineerig Centerr at Golden, Colorado, 6th Annualexhibition of photography related to the environment from 20 February until 1 May 2015.

Group exhibition at the T.Shevchenko National Museum in Kiev from 27 to 31 March 2015.

Collective : Smith Gallery, Johnson City, Texas USA . Blue 2015.

Group show: Black Box Gallery, Oregon-USA– Black and White, February 2015.

Collective: Urban Exhibition, Trieste February 2015

Group show: 1650 Echo Park Avenue, Los Angeles, November 2014.

Collective exhibition in Milan in March 2014: the why of art.

Exhibition at the Golden Chip of the Photo Cine Club of Cascina (Pisa) 2013

Collective: exhibition in Rome in October 2013

4 group exhibitions in Krakow during August 2013

Close up gallery 1650 Studio & Gallery, Echo Park Los Angeles 2013.

Group exhibition Costa Masnaga (Lucca) theme geometry 2012

San donà del piave march 2011 collective exhibition the world of women

Ischia, contemporary art 2019.

Gattinara Biennial (Vc) 2019.

Badalucco (IM), Visions 2019.

Chivasso (Italy) Art Biennale 2018.

Buronzo, Vercelli (Italy) 2018.

Collective Satura art gallery Genoa, December 2017.

Trieste Photo Fringe 2017.

Fine art photos and digital art. Arttime Gallery Udine, 2017.

Center for Fine Art Photography, Colorado USA. October 2017.

Humans Cordoba Spain September 2017.

Pontremoli photographic festival 2017.

ArtesTorino, 2017.

Genoa Biennale 2017.

Gattinara Biennial (Vc) 2017.

On canvas: monumental complex Broletto Novara 2017.

Onirography Turin May 2017.

Echoes of living art, Campo San Zaccaria, Venice May 2017.

Art Genoa 2017.

Gallery of modern art, Naples, Collective 2017.

Exhibition: I was born mine. Turin 2016.

Castello Svevo Imperial fortress (Cs) August 2016, collective.

Villa Paolotti, Gattinara, Vc 2016.

Hands, friends, signs, dreams, collective in Rovasenda (VC) July 2016.

Collective : Photo place gallery 2016 theme the flight.

Colloquia Aedificato, Palermo April 2016.

Group exhibition: Black wall gallery Athens January 2016 theme Street photography.

Stregarte : Collective in Genoa Palazzo Stella 2015.

Saturarte : Genoa star palace September 2015.

Group exhibition: Soffi d'arte Rovasenda (Vercelli) September 2015.

Collective: Exhibition of Tigullio Chiavari 2015.

Group exhibition on the Greenwich gallery website March/April 2015.

Collective: Camouflage Project 2014 Camo (cn)

Collective: Martelive Biennial in Rome 2014.

Camo ( Cn ) personal: inside the shops.September 2014

Montechiaro d'asti (At): The power of images 5 July /17 August 2014.

Asti arthfoto 2014.

Collective: Montechiaro d'Asti exhibition for a month, from 8 to 30 March 2014

Verona 2014: biennial of creativity

January 2014 GadArte Gallery on the occasion of the Michelangelo award in Florence

Participated in the exhibition and award ceremony: Urban 2013 in December Trieste

Show on site : Photo gallery place. Subject : Transformations

Pisa (Italy) Photographing music 2012

Margate ( England ) collective exhibition May 2012 abstract theme

Treviglio (Bergamo) collective exhibition May 2012 with the theme of Ungaretti's poems

Sassari collective exhibition march 2012 theme tell your loneliness

31 Flemish proverbs, Pozzolo Formigaro ( AL ) 2023. 

. Naked is the Story, Alessandria (Italy) 2023.

. 31 Flemish proverbs Cominelli S.Felice (Brscia) 2022.

. 31 Flemish proverbs Cerrione castle, Biella (Italy)2022.

. Nuda è la storia, Divinarte (Gattinara) Vc Italy 2021.

. Naked history and more, Badalucco (Italy) 2021.

. Alter Ego: Palazzo del Bargello,Gubbio(Italy)2019.

. Armony : Museum of photography, Brescia October 2019.

. Alter Ego May 2019 Cerrione castle, Biella(Italy).

. The City and me, Genoa (Italy) October/November 2018 .

. Foto Spazio G Marte Milan September 2016.

. Gavi Ligure Gavi Arte 2016.

. Lake Moniga del Garda Italy July 2016.

. Presences at: Go to Gallery ,Turin (Italy) May 2015.

. Inside the shops: Brescia Museum of Photography June 2015.


.

The hidden form of the contraption


Rosa Di Pieria


Roberto Pestarino's photography is conscious direction, shrewd machination, well detailed, a perfectible enigmatic model, aimed at freeing communications that are intimately advantageous to collective formation, in which documentary reportage hisses. The first shot is pure, removed from the musicality of the contrasts, which will intervene in the second instance more or less hinted at in the medium or rarely high vibrant tones, harmonious and minimal chiaroscuro, calmed in an instant technique. Once the subjects have been crystallized, Pestarino subsequently decides the brown or luminescent chromatic nuance, according to the concept to be impressed, but also the mere aesthetics. Indeed, as within a painted canvas - through the peculiar observation of the brushstrokes - we glimpse the emergence of instinctual starting points and transmutations, similarly reiterated in the world of Pestarino, whose materialistic vision leaves little room for speculation of the latent unconscious. One of his favorite areas of hunting is urban art, in which he preserves an apparent parsimony in the post-shooting intervention, refusing to substantially manipulate the image, but instead sublimating its natural pre-existing nature.

Much more than he himself approaches, the artist finds himself exploring the metaphysical territory, in search of the truth that forges the pillars of the real dimension, with which he relates with fervent familiarity, as a not-so-secret lover of other photography conceptual character. Here he remains neo-expressionist, in accordance with the predetermination of the object, either acting as a shaper, builder in defense of the vision pursued or configuring, as a scenic creative act, a perpetually evolving expressive form, even minimal or imperceptible from the average speed concerning the whole of human learning. These discourses make use of mannequins, puppets and passive beings, echoing within a microcosm, well safeguarded by Giorgio De Chirico, constituting the foundation of an artistic expression aimed at grasping what is artistically preordained by human ingenuity, not necessarily to univocal objective conceptualism. Where such constructivisms do not find easy placement or consensus of the photographer or perfectibility, Pestarino multiplies the conceptual expression, no less individual, transported by singular intuition: this is the moment in which to "throw away" false sophisticated instruments. Sometimes, by titling the works in a "curiosity" way, Pestarino asks the Self or that of others for an answer or also indicates the itinerary of a conceptual journey, with the idea of branding, increasing or decreasing the profound significance evidently made of more than mere aesthetics.

He never gives in to banality, since in each of his photographs there are hidden elements of relevance, hidden behind the façade of apparently simple colours. His shot reveals such spontaneity that it eludes an immediate understanding of his intentions; he cannot, at that precise moment, fully recognize that his objective is aimed at depicting - for example - a coffee shop: this is because his attraction arises from the perception of that element in a given moment, then revealing itself in the subsequent phase through the attribution of a title. His artistic compositions are emblematic and in reality do not require any title or further interpretation, but rather urge the observer, as well as himself, to penetrate their meaning. Through the use of elementary tones, motifs and combinations, the author conducts an apparently simple visual narrative which, despite this, is profoundly impressive. In fact, it is difficult not to perceive the aura of grandeur that exists within his works. Pestarino, therefore, follows a perspective that is somehow reminiscent of the chromatic tradition of Italy, characterized by a predilection for two-tone, with a prevalence of brownish and chiaroscuro tones. He places himself within the wake of the Italian chromatic culture of yesteryear, entertaining a distinctive something. On many occasions, he displays this characteristic: the ardent desire to reveal to others what he himself, sometimes, cannot even express through a title. There lies an enigmatic meaning which often draws on current elements. An artist of vast versatility, he therefore deserves to be praised for his approach to realism: thanks to his intrinsically realistic nature and, in equal measure, to a spontaneous viscerality, he manages to manifest an objectivity in parallel to a neo-expressionist quality. This double artistic dimension emerges through a meticulous chromatic selection, the careful choice of subjects, and the underlying concept of a somewhat circumscribed nature, traceable within his photographic works. He carefully selects the context in which to place his focus and in which to expand the photographic lens, thus demonstrating a notable degree of eclecticism: this allows himself and viewers to contemplate multiple facets and draw inspiration from a varied range of reflections . While maintaining his realistic base, constantly pervaded by neo-expressionist influence, his works unravel in diversified directions, embracing surreal scenarios, often tinged with fantastic, romantic and childish elements. The fantasy atmospheres, combined with all this, flow into the complexity of the meaning that the artist tries to convey. It is necessary to add that Roberto aspires to imprint a triple meaning in his photography: the first dimension, of an aesthetic nature, is double and is first and foremost founded on pure harmony. The second dimension is of a conceptual nature, where the artist captures elements that would otherwise have no theoretical meaning, but frames and focuses them in such a way as to give them a communicative intent. The third dimension is intrinsically conceptual, but hidden behind the veil of silence in the descriptions of the works, it reveals itself as an enigmatic and cryptic conceptual nuance. The creation of this photograph presents itself as a complex challenge, not only as regards the color scheme adopted, but also for its refinement: this takes on polychrome shades, leaning towards gold and yellow tones, at least so far. This choice voluntarily withdraws from the easy path of neo-expressionism, dominated by a monochrome black and white palette and their shades. It is, therefore, a more demanding challenge to obtain a photograph that manifests a profound three-dimensionality through a multi-faceted color palette, with notable intensity or attenuation, depending on the message you intend to convey. It is essential to point out that this characteristic is common among those who excel in the art of color photography. As we mentioned previously, this link with metaphysical aesthetics is evident in its inclination to explore the sphere of rationality and human action, rather than purely objective manifestations. In this sense, his works depicting mannequins, the puppet abandoned on the pavement, the clothes pegs crossing the street and the architectural compositions, often subject to distortions, reveal a "scrutably" human dimension, in tune with the metaphysical current of De Chirico's inspiration. The gold and yellow tones, as colors intrinsically linked to light, function as tools to record the ultimaist attitude that the artist has towards the future. This chromatic choice is configured as a visual declaration of his constant commitment to construction and artistic creation, thus representing a tangible sign of his optimism, demonstrating a clear resistance to adhering to neoclassicism, which he perceives as an artistic movement with a different.


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