Silvano De Pietri was born in 1944 in Parma where he lives and works.
After some experience in set design and advertising, which continues to deal, from 1972 he devoted himself to painting.
The first to take an interest of his work are critical Cavazzini Gianni and Roberto Tassi, who presents his first solo show at the Galleria in Milan Eidos.
“The young artist takes a realistic analysis of a single theme, repeated and represented obsessed tively: the human figure forced countless twists, standing, and asleep, watched” vojeuristicamente ‘in empty spaces, permeated by a kind of solitude surrounded by emulsion blue, blue and gray that surrounds and inspires a feeling fabulosa, almost unreal “(R. Rates).
“The silence, the shadows, the rarefied atmosphere” (M. De Micheli) early work, with particular attention to the crude, knee, side, between shadow. Blades remain in the research of De Pietri.
From ’75 on, change themes, but the ways and means: the features and the disintegration of human tissue replacing the glow of the metal “objects machines. This work eventually becomes so to become hyperreal representation of themes dream slipping ¬ not the banality of everyday surreal universe of the unconscious. From the depiction of violent drama and outer bodies pale and contracts, De Pietri induces subtle and hidden anguish of mechanical, awakened by sharp knives, threatening, which are nothing if not evidence of an innocuous opener. But the mystery continues in the papers presented at the end of 81 Gal ¬ Valeria Councils of Parma, in which an object of metal, as a measurement instrument with rankings, is repeated and multiplied in an aseptic space and white, showing many aspects without repetition and, indeed, being able to think of different forms, inspired by several models (V. Sgarbi). The technique preferred by the artist becomes graphite on paper reducing space and color to the conceptual rigor of white and gray, but rediscovering the softness of the gradient, the chiaroscuro in the style of the classics. Recent work, which will be the subject of another exhibition at the Gallery Tips, irreducible to depict everyday objects, entities unrecognizable, small forms, which is due to abstraction, which limited support from space expanding in the setting of a hypothetical theatrical environment as ar ¬ galactic architecture of an imaginary future.

It erects a temple to the idea of measuring and drawing. A classical structure, but with the thickness of a scene by scene. The obvious science fiction plays in favor of building the instrument, a
macro-cornpasso guarding the door, behind which is not sensed the limits of an interior, but the nebulous space and boundless imagination.

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