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Mexico City by Federico Cortese | Artworks | Artlimes
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Mexico City, 2011

Federico Cortese

Original Artwork70 x 44 x 0.1 cm

Oil paint and pencil on paper

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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 in which 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). A great source of ideas are books and music, and of course, the PC. The graphics programs and virtual modelling programs have become over the years of 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, almost always I 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 only after it has already been turned into experience. Exactly like a rat, eating quiet its supplies in its den, waiting for the end of winter.

Artwork

About this Artwork

An original piece from the series “Big Code”, oil and pencil on paper, 70 x 44 cm.

When we consider a road map or a map of the territory we note that they contain different information that are represented by different means, according to the purpose for which they were created: each time we find colors, 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 generate a new language and associate to those images a new meaning?

These drawings are similar to the series "Code" but larger. While in that series the initial idea of the map is entirely invented, here sometimes I start with the virtual exploration (via Google Maps) of a real city, whose name then appears in the title of the drawing. But even in this case the real city is only a pretext. Its forms are gradually modified and reinvented. New symbols are added, the hierarchy of colors and the associations between the various elements are gradually distorted and lose their original meaning so that hardly an inhabitant of that city would recognize it as his own. With this process of work I explore the possibilities of change and evolution of the original language.
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