Sète 17, 2024
Painting : paper, collage · 60 x 60 x 3 cm 23.6 x 23.6 x 1.2 inch · Ready to hang
$1,803
1 803 $US
Delivered in time for Christmas
Shipping & delivery
Shipped from: France
Delivery to: United States , $ 199
Estimated delivery: One to two weeks
Free returns within 14 days, full refund
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Sold with certificate of Authenticity from the artist
Invoice from the gallery Learn more
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Verified Reviews : 9.6/10
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About the artwork
Type
Painting : Unique artwork
Condition
Artwork sold in perfect condition, not framed, ready to hang
with stretcher frame
Authenticity
Sold with certificate of Authenticity from the artist
Invoice from the gallery
Signature
Hand-signed by artist
Dimensions ( cm • inch )
60 x 60 x 3 cm 23.6 x 23.6 x 1.2 inch Height x Width x Depth
Sold by
Art gallery
Credentials
Vetted seller since 2021 • Top Seller
Discount
This seller offers discount when you purchase multiple artworks.
Description
The gaze falls upon a complex assembly of materials and textures. This composition explores the beauty of chance and the erosion of time. The artist uses the collage technique to superimpose fragments of torn paper, creating a rich and tactile surface.
White dominates the composition. It is punctuated by touches of powdered pink and azure blue which bring chromatic softness. Black letters appear here and there, like vestiges of an erased message. The play of superimpositions establishes a visual depth where each layer seems to tell a different story.
The work on the material recalls urban walls and superimposed posters. This approach transforms ephemeral elements into a durable aesthetic object. The contrast between the smooth areas and the irregular edges of the paper draws attention to the fragility of the support. The balance between emptiness and fullness structures the space. The whole ends with precise graphic details and sharp tears.
Presentation
Christian Gastaldi is a painter who does not use paint. His pictorial material is the poverty of the common elements to which oblivion and neglect have conferred a humanity.
Like an archaeologist of the present, he collects damaged posters on the walls of the cities he travels through, from Europe to South America. These urban fragments, imbued with the collective memory of a territory, of an era, nourish his plastic vocabulary. Put together, they draw the sensitive cartography of a place, a singular topography.
Back in the studio, he works through gestures devoid of artifice. Working standing up, his brushstrokes are raw tears, handmade, occasionally revealing the stratification of the accumulated papers. He does not paint and yet his works are composed with the same rigor as a painter, particularly attentive to the spatial and chromatic organization of the elements.
But when moving from the street to the canvas, the poster changes its nature. Decontextualized, what remains of its message? If not perhaps the memory of the place, of what has been. It then becomes both trace and index. The perishable material is elevated to the rank of a sacred object.
Christian Gastaldi's abstract canvases evoke sometimes a painting, sometimes a plaster or a textile. From the material traces of a city, they bring forth a poetic abstraction that preserves the memory and identity of the territory. They make us shift from the immediacy of the event to the experience of duration, transforming a sensitive cartography of urban territories into pictorial language.
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