God Save The Queen Painting by Marco Battaglini | Costa Rica

God Save The Queen

Marco Battaglini

Costa Rica

Painting

Size: 41.3 W x 51.2 H x 0 in

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Art Description:

Painting: Airbrush, Acrylic, Digital on Canvas.

ARTPOPCLASSIC by Marco Battaglini

Through a subtle interplay of multiple realities overlapping in the chronotope, Battaglini evidences the contradictions in mental models about the temporal contrast (chronological), and the cultural and linguistic barriers.

Compositions which at first seem 'logical', immediately reveal temporal and spatial limitations that are disruptive in the interpretation of reality.

Battaglini invites us to think that in today's global village, with the 'democratization' of culture, the evolution of knowledge, information immediacy, immersed in the heterogeneity, the Patchwork Culture forces us to confront with a need understanding beyond our geographical boundaries of time.

Probably the uniqueness of the Italian artist Marco Battaglini is to conceptualize the possible coexistence of the ideals of classical beauty with the anti-aesthetic, the combination of the divine and refined with the vulgar, through a composition that can complement different realities in an eternal instant.

His research of multidimensionality leads him to overlap different temporal, spatial and cultural realities, where everything seems to make sense…

This is ultimately the Battaglini’s purpose: remove barriers that distort the perception of reality.

A clear message of unity sprouts from his representations. The Italian artist conceptualizes a possible coexistence of the canonical aesthetical ideals and the noise of a sense of urbanity stripped of the polished and the smooth. This opposition elevates the mundane towards the spheres of the divine or brings down the untouchable to the plane of daily life. Both truths merge in an eternal moment of truth where man perceives his own finitude by becoming aware of himself and his role in an ever-changing and evolving scheme. It is impossible to leave these paintings unharmed: the artist removes the barriers that label reality revealing a pleasant uncertainty. Shock is inherent. A deep questioning arises: the ephemeral nature of the digital world is confronted against the erudite baggage that persists in the collective unconscious, even if man remains unaware of its existence.

The easy and immediate access to resources –an inherent by-product of the digital age– results in a significant semiotic evasion. Battaglini’s subjects (usually classical nudes of antiquity) find themselves wrapped by contemporary motifs, graffiti, allusions to Pop Art and today’s hegemonic consumption style. The effect provokes yet also raises a standard of inclusiveness. Spectators of very different backgrounds may be represented in the sea of ambiguity that rises before them. This way, the Veronese constructs an alternate reality from foundations already firmly established in the collective unconscious: he deprives the observer of what is expected in order to place him (or unset him) in the center of recent references of the contemporary. His work borrows making the loan evident. His art is an ironic nod to the known in order to destroy the expected. Facing this instability, several hermeneutic avenues appear. Of these, two impose their relevance: either the superficiality of modernity arises or a collapse of the lineal paradigm of art makes itself evident.

His compositions combine a respect for tradition and a nuance of revolution. Classicism’s sublimity reveals itself for a moment to hide within the realms of everyday life. Battaglini sees art as human being’s extraordinary capacity of transforming preconceived ideas. He understands it as a high mode of communication that exposes the vulnerability of purist structures and patterns. In a world where most sociocultural paradigms have come to a dead end, it is impossible to find an unscathed context to frame reality. Thus, it becomes clear that canons are only collateral effects of the cultural environments that have molded them. Then, any interpretation is the observation of only one of the sides that make up the prism. Therefore, an intelligible message of unity and empathy distills from the work of Marco Battaglini: he attacks the spectator by destroying his own perceptual patterns; then, he generates an infinite spectrum of new possibilities.

THE CARLOS REID GALLERY

www.thecarlosreidgallery.com