PRIMO MARELLA GALLERY
The overturned Theatre of a Worlds Dreamer

The overturned Theatre of a Worlds Dreamer

Alessandro Sicioldr

Published by: Primo Marella Gallery

Primo Marella Gallery is pleased to present for the first time in its Alessandro Sicioldr (Tuscania, 1990)’ solo show.

In a perpetual oscillation between reason and feeling, the world painted by Sicioldr is a timeless dusk, standing in the static nature of the action of the protagonists who inhabit it, focused to get the fundamental shapes of the being and the unconscious of Humans.

 

Permeated by magic and mystery, they represent the obscure universe of the artist, who suffers the idea at night and imprints it on the canvas during the day, with natural light and a clear mind of rationality, such as he wants to exorcise his past nightmares.

 

Surrealist, symbolist, medievalist and mannerist, for sure gifted with an incredible technical mastery, Sicioldr attributes the same importance both to the preparatory study and to the production, breaking up the belief that saw in the drawing the true genius of an artist and in the colour a mere adornment of the artwork. The predominant chromatic shades (red, black and white) look like coming from an ancient and far world, and their peculiar drawing up (precise and respectful for the painting) deepens its expressive power, necessary to bring out its symbolic meaning. This Grand-Guignol of our dreamer recalls as much the delightful Bosch’s garden as the dark days of the Highest Poet: alive entities, peopled by surreal beings, abominable or perfects, but always disturbing. Chaste muses and impalpable idols, without any sexual connotation, but still seductive. Distant presences, silent oracles burdened by that symbolic force typical of Orthodox icons, where the frame around the table showed up the otherworldly world of saints. Curious and omniscient, Sicioldr’s characters stare at us and search us, leaving us with the uncomfortable feeling of not having caught the answer to those questions that we have placed before them and that they already seem to know. In a universal sense, we can say that in every one of his works is perceived the discomfort of contemporary man, alone and alienated in his thoughts, in his fears.