"The video player in plexiglass backlit by RGB led lamps, distorts the balance of traditional painting, creating a transitional space within the picture that underlines the precariousness and the illusions of the post-modern society."
After teaching for many years in Rome, Federico Pisciotta devoted himself exclusively to painting and contemporary art research. Since 2013 he lives and works in Fara in Sabina, at his studio "700 Artecontemporanea". Federico Pisciotta has participated in group and solo shows internationally including at the Foundation Museum Venanzo Crocetti in Rome, the Stables of Aragona Palace in Vasto, CH, the DAP1 Gallery in Warsaw and Halle 50 at the DomagkAteliers in Monaco of Bavaria. With an active presence at notable international art fairs of Milan, London, New York, Miami, San Diego, Santa Fe, and the Hamptons he is a contemporary artist with an impressive resume. One of his latest projects, first introduced in Germany, 2014, employs a unique painting technique, supported by multimedia interactive elements producing canvases that recall the obsessive presence of informatics iconography.
One of his latest examples is the work "Without Religion". The girl, though a posture reminiscent of Greek-Roman statuary, is meant to represent the contemporary femininity made of transgressions naive and fragile personality. The tattoos and written in Latin on the left forearm “Ad vitam æternam”, translated “to eternal life”, alludes to this Century of an ill, strongly exhibitionistic “youthfulness”. Sitting behind a memorial column disfigured by graffiti, intent on chatting nervously with her smartphone, the young woman with the red hair flying, senses a strange feeling of embarrassment. The awareness of non-compliance in respect of the dead transpires by her naive doll-like face. The gifts in the foreground symbolize the best that can already offer our society of “McDonaldization”. Space is changed, the play button, backlit leads elsewhere. You can’t perceive the pulsing slight of the soul, the fine line between life and death. What remains is only a decadent and precarious reality that tries to take refuge in the virtual space where every day we share our obsessive habits: the network.
Review published by Circle Foundation for the Arts © CFA Press ∙ Images courtesy of the artist