Filippo Armellin

Artwork list:

Origini #12, 2018, 100×80 cm, stampa digitale su carta fotografica.
La Crisi dei Simboli #03, 2019, 95×120 cm, stampa digitale su carta fotografica.
La Crisi dei Simboli #04, 2019, 95×120 cm, stampa digitale su carta fotografica.
La Crisi dei Simboli #05, 2019, 95×120 cm, stampa digitale su carta fotografica.
Land Cycle #06, 2012, 70×105 cm, stampa su carta fotografica e vetro acrilico.
Land Cycle #05, 2012, 70×105 cm, stampa su carta fotografica e vetro acrilico.
Land Cycle #09, 2012, 70×105 cm, stampa su carta fotografica e vetro acrilico.
Land Cycle #11, 2012, 70×105 cm, stampa su carta fotografica e vetro acrilico.

Abstract: Land Cycles, La Crisi dei Simboli, Il Regno della Quantità.

My production stands between painting and photography. Landscapes and seascapes are built of paper, painted with acrylic colors and shaped as sculptures. After completing this first part of the process, the backgrounds are photographed in a studio set.

In the myth of Cain and Abel, the two brothers represents symbolically two different ways of living: one temporal and the other spatial. We are living the metaphorical condition of Cain and his killing of the brother: we are living an age in which the time annihilates the space. Abel indeed represents the principle of space in continuous expansion in which nothing is durable, where there is no possibility for human artifacts and no possibility for a systematic- industrial exploitation of resources. With the symbolical killing of Abel, humans began to give preeminence to time, developing a culture in which life is organized and contracted in infinite fragments, seasons and cycles. Space instead is reduced of importance and considered just as a resource.

Starting from this analysis I decided to produce images of spaces made of lands, skies and seas. These are the basic elements that today we miss and for that reason they have become the most expressive.

Looking at the artworks, the interpretation goes around ambiguity between the perception of an existing landscape and an unreal view. Exploiting the capacity of photography of distorting what it reproduces, Land Cycles stand between reality and fiction, giving the possibility to the spectator of viewing Golden Age spaces.

Filippo Armellin was born in Montebelluna (province of Treviso) in 1982, he lives and works in Milan. After graduating in Design and Visual Arts Production at the Design and Art department at IUAV, in 2010 he graduated in Photography at the R. Bauer Institute in Milan. In 2007 he moved to Rome, where he worked with artist Joseph Kosuth. During this experience he collaborated in the design and production of various international art exhibitions, such as the Venice Biennale, Capitoline Museums in Rome, La Casa Encendida in Madrid, El Centro Atlantica and Modern Art in Las Palmas (Canary Islands). In his photographs the natural subjects appear untouched; but actually the fascinating landscapes are completely realized in studio, through the use of backdrops and models produced with materials such as paper and metal painted with acrylic colors. The artist patiently constructs models of leaves, plants, stones that he uses to create photographic sets, which are capable of overwhelming the viewer with their infinite horizon. In 2016 he was selected among the finalists of the XVII Cairo Prize.
From 2006 he has participated in group shows in institutions such as: Fondazione Francesco Fabbri, Treviso (2018, 2014), Palazzo Reale, Milan (2017), PAN | Palazzo delle Arti, Naples (2013), Documenta, Kassel (2012), Palazzo delle Terese, Venice (2008), Bevilacqua la Masa Foundation, Venice (2007).

armellinfilippo@gmail.com
www.armellinfilippo.com

Copyright Informations:
All materials are copyrighted from 2012.
No commercial use is allowed.

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