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Cipher number 48, 2020

Federico Cortese

Original work on paper40 x 40 x 0.1 cm

Oil on thick paper

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£385.73
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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 "Code":

When we consider a road map or a map of the territory, we note that they contain different information that is represented by different means, according to the purpose for which they were created: each time we find colours, symbols and words that recall a precise meaning. What happens if I take these techniques of representation, these symbols, and take off the scope for which they were created and mingle them with each other? Will it be for the reader a text in a foreign language that is meaningless, or, through the world of associations and references that each of us possesses, will it generate a new language and associate to those images a new meaning? In these paintings, the invention of the map of a city is only a pretext. Gradually, by changing the shapes, colours and the hierarchy of associations between the various elements, I explore the possibilities of changing this language, increasingly moving away from its original meaning.
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