Artist

GIANLUIGI BALSEBRE

FINGERPRINTS   2019

FINGERPRINTS 2019

dimensioni: 20x20 cm
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LABYRINTH  NS  29, 2020

LABYRINTH NS 29, 2020

dimensioni: 15 x 30 cm
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 LABYRINTH NS  03, 2019

LABYRINTH NS 03, 2019

dimensioni: 50x70 cm
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LABYRINTH  NS  08, 2020

LABYRINTH NS 08, 2020

dimensioni: 50x70 cm
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LABYRINTH  NS  06, 2020

LABYRINTH NS 06, 2020

dimensioni: 50x70 cm
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LABYRINTH  NS  10, 2020

LABYRINTH NS 10, 2020

dimensioni: 54 x 50 cm
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LABYRINTH  NS  12, 2020

LABYRINTH NS 12, 2020

dimensioni: 50x70 cm
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LABYRINTH  NS  14, 2020

LABYRINTH NS 14, 2020

dimensioni: 50x70 cm
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LABYRINTH  NS  17, 2020

LABYRINTH NS 17, 2020

dimensioni: 35x50 cm
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LABYRINTH  NS  19, 2020

LABYRINTH NS 19, 2020

dimensioni: 35x50 cm
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LABYRINTH  NS  22, 2020

LABYRINTH NS 22, 2020

dimensioni: 50x70 cm
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LABYRINTH  NS  24, 2020

LABYRINTH NS 24, 2020

dimensioni: 50x70 cm
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LABYRINTH  NS M 01, 2019

LABYRINTH NS M 01, 2019

dimensioni: 30x30 cm
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GIANLUIGI BALSEBRE

Was born in Matera in 1952. He is an architect. He has taught in artistic high schools in Pietrasanta, Arezzo, Pistoia and Florence. He began his artistic career in the seventies of the twentieth century in the framework of the Visual Poetry (Techne in Florence and Gramma in Lecce). In is over fifty years artistic experience he has partecipated to several National and International exibitions. He has written many articles in Italian newspapers and magazines. He is the author of the first, an so far unique, Italian bibliography about the Situationist International ( Della critica radicale, Ed. Grafton 9, BO, 1995) ) and of Il territorio dello spettacolo, Ed. Potlatch, Nowhere, 1997; later “archimagazine”, 2002, a pamphlet concerning critical urbanism. He lives in Florence.  

The labyrinth is the theme at the heart of nearly all the recent works. Psychological labyrinths, metaphors for the human condition and of life itself, paintings that reflect the unpredictable meandering paths that we all take throughout the journey of our own existence. Influenced by a broad range of historical references, ranging from Fauves to abstract-informal art, these labyrinths are characterized by symbols and colour. The use of symbols which is at times open and gestural; at times restrained, is what underpegs the enitre body of work. The use of vivid colour, which often moves between overlapping and contrasting, or complementary tones, obscuring or picking out fragments of the underlying layers, is what characterizes the space of the painting. A compact and varied dialogue unfolds between symbols and colour, which resonates, renders, despite its apparent complexity, all the joy of painting and the passion for art that it seeks to communicate. 

[Daniela Pronestì]