wopart

In his latest project No-Portraits, her great aesthetic skill and photographic medium mastery are evident. The artist’s attention is within all phases of the work, from pre-production to production and post-production. The shot only becomes the last piece of an artistic sequence, that includes interventions such as painting, collage and abrasion.
The focus of the project is shifted to new reading codes, that crumble the classical concept of portrait intended as a “copy” in favor of an “anti-portrait”, that is an introspective analysis of the depicted subject, almost always female, a universe from which Izzo draws and to which she gives

Continuous human contradiction emerges in his works. The consideration on evolution, on the beastly aspects of our existence, the criticality of systems, which are vital for us and for all the living species of our delicate planet, the precariousness of human relationships as opposed to the unambiguous and independent search for success, worthy of every mean …
On the other hand, animals, which are often much more capable than us of living our home, actively or passively respecting their destiny in the food chain, capable of coexisting together within the same areas, where different species draw life, simply by following the natural rhythm dictated by our planet, now very weak and not because of them, stand out positively in respect of natural, bio-vital and social systems. The man in metamorphosis with the animal encloses all these aspects and stands out on the works of Federico Unia, who often uses the urban theme of Poster, as a common language in many of his works, to carry his subjects as a background texture.

What Photography reproduces infinitely, took place only once. It repeats mechanically, what won’t be repeated existentially. The young artist investigates suburban cultures through the mechanism of a machine, shooting not necessarily what no longer is, but certainly what it was. Archive to print the moment. The goal of his work is becoming part of a community, take the best visions and give them back to the public.

In his installations, the artist is able to playfully fly over the rubbles of a capitalism that reached the spasmodic end of its course. He does so with a wise choice of materials (from resins to plastic), by setting fake ingots, exploded lamps and very famous brands. While Warhol celebrated the birth of Coca-Cola, Vettore sings about his death. The purely aesthetic result is, in some cases, amazing.

The artist raises / re-elaborates from scratch, everything that is Pop: decomposes / deconstructs photographic images, signs, chromatisms and writings that first showed off their “glamor”, fashion, cinematographic, comics, music, superficiality, reinventing everything and then translating it into a visual language that “de-re-structures” every single image