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Green Pearls, 2017

Federico Cortese

Original painting40 x 20 x 1 cm

Oil, fabric, glass beads on cardboard

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£297.61
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Federico CorteseOffered by
Federico Cortese
Italy
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Artist

About Federico Cortese

I was born in 1971 in Turin, Italy, where I live and work as an artist. Since I can remember, I have always drawn. My preferred techniques are classic oil-on-canvas paintings, and pencil drawings.

I’m like a mouse in its box. A little mouse, safe in its shelter, that passes its time gnawing the food stored for the winter. But my food is the drawings. I work within my home. My studio is a room in the house where I live. In this relatively small space, I accumulated all the materials and equipment I need to draw and paint, but in a certain sense, the suggestions that inspire my work. Here are the desks and drawing boards, with brushes and paint colours, but also, on the walls or placed in closets, paintings and drawings (I think each finished work is always an inspiration for the next, somehow). Great sources of ideas are books and music, and, of course, the PC. The graphics programs and virtual modelling programs have become, over the years, valuable support. Still, the richest mine is the internet: a reservoir of images and ideas from which to draw, and in which we often are lost (in addition to photos of my travels, all stored on the computer). It’s a small microcosm closed in on itself, somewhat impervious to the outside world (despite a large window with a beautiful view of Turin, I almost always work with the curtains closed). It is a bit as if the real world's suggestions were allowed to enter here only after being filtered and digested, after they have already been turned into experience. Exactly like a rat, quietly eating its supplies in its den, waiting for the end of winter.

Artwork

About this artwork

An original piece from the series “Extrusions”.

This series of works was originally born from the following idea: I imagine a sign on the paper, like a cut, from which other signs, shapes and colours emerge, as if it were a sort of material capable of generating the painting, a sort of Pandora's pot of painting. Over time this initial idea became more complicated. That sign on paper came out of the paper; it became three-dimensional, a piece of fabric on the sheet, a sort of pocket from which the paint spills, and eventually other simple objects spill, such as little glass beads that suddenly become precious just because they are now on the surface of a work of art.
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