Dr. Pietro Randazzo - Bottega d'Arte Medievale e Contemporanea
Dr. Pietro Randazzo, Ph.D., D.F.A.
Fine Arts / Beaux-Arts / Bellas Artes / Belle arti / Bildende Kunst
DISEGNO FIGURATIVO / NEO-SURREALISTA CONTEMPORANEO
A PENNA BIRO POLICROMA dal 1970 a FIRENZE.
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CONTEMPORARY BALLPOINT BIRO PEN FIGURATIVE /
NEO-SURREALISTIC DRAWING SINCE 1970
Dalla PITTURA MEDIEVALE ITALIANA-BIZANTINA SU TAVOLA
CON EMULSIONE AD UOVO E FOGLIA ORO REINTERPRETATA,
al DISEGNO CONTEMPORANEO NEO-SURREALISTA
A PENNA BIRO POLICROMA.
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From ITALIAN-BIZANTINE MEDIEVAL PAINTING
ON WOOD WITH EGG TEMPERA AND GOLDEN LEAF REINTEPRETING, to CONTEMPORARY NEO SURREALIST
DRAWING WITH POLICHROME BALLPOINT BIRO PEN
We Work on Commission all over the World
Opere d'Arte Gotica Pitto-Scultoree su Tavola e
Tecnologia dei Materiali più Moderni
LABORATORIO DI ICONOGRAFIA "Sicut in Caelo et in Terra"
Genuine enriched Museal Near Masterpieces of the best italian medieval Paintures
Opere da Museo medievali-rinascimentali arricchite ed esclusive
by Florence, Giotto's Land Italy
RGPD: QUESTO SITO NON RICHIEDE, RACCOGLIE, DETIENE, TRATTA, DIFFONDE, IN ALCUN MODO, I DATI DI ALCUNO!
Biography - Philosophy
Painter, Sculptor, Iconographer, Illustrator, Miniaturist
Exclusive works with Ballpoint Biro Pen and on a wooden board with Medieval Technique
Dr. Pietro Randazzo, Ph.D., graduated from high school in Florence, but decided (given the level of Italian universities ...) to go to university abroad (family in the USA for generations) diving first in Psychology studies and then in those of Heterodox (Alternative) Medicine with various addresses, obtaining the relative Doctorates (Naturopathy, Homoeopathy, Oriental M., Naprapathy, Chiropractic, ...) carrying out his work as a Professional for 40 years with parentheses of University deanery as Dean of Faculty, despite not having abandoned his studies in the BB.AA., finishing them later, ... although totally inactive from an artistic point of view.
He has made exhibitions in Florence in both minor and high-level collective exhibitions, such as for example. - at the invitation of prof. of the Accademia di BBAA in Florence - at the "Gruppo Donatello" international outdoor exhibition in Piazza Donatello in the early 1980s. Pupil (1970s) and friend of Profs. Romano Lucacchini (Architect, Sculptor and Professor of Marble Technology at the Academy of Fine Arts in Florence), Nazareno Malinconi (Architect, Painter), Renzo Biasion (Art Critic), M. Bucci (Author of: Anatomy as Art - Anatomical waxes of La Specola), and other names in the Italian artistic scenario.
The impactful decay of a structure like the BBAA Academy in Florence, with the imprinting - all Italian - that this caused on him, has also determined a non-Italian academic path for the artistic sector.
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He has done exhibitions in Florence both in minor and in secondary collectives, as for ex. - by invitation of proff. of the BBAA Academy of Florence - at the Donatello Group's international open-air exhibition "Gruppo Donatello" in the early 1980s.
An almost recent exhibition was in Florence 5-6 years ago. He exhibited in Fiesole, in Forlì in PAINT ART FAIR, and recently in Florence at Firenzeart, ... etc. .
But ... to those who love the long lists of Expositions made the Master simply says that in his case are "those made!".
The slavish listing of the number of exposures realized over time lays down for the sense of inadequacy, or shortage, self-referential, illusory compensated by a painfully ostentatious and listed past history, represented by a large list of non-sense exhibitions, often realized in Bars, Restaurants , Circles, festivals, lounges, etc., pathetic note of a spasmodic search for visibility and ostentation of expository reporting at all costs that as for women compulsively looking for a child that never arrives (if not when they adopt one or they buy a vicarious dog or an anthropomorphic doll of tension collapse), it eventually translates into an exercise that is more and more suffering from emotional austerionism which, on the contrary, exacerbates the phenomenon of resulting invisibility.
The more hyperplastic the list is, the more sense of inferiority or inadequacy exists in the artist.
This infinite list, in the biographies of the artists, little or nothing says of the real quality and consistency of an artist or of anyone.
The longer the list and the more evident - in subtext - the childish attempt and often desperate to be valued for the historical rather than for the truly artistic: "have you seen how good I am? Have you seen how many exhibitions I have done? I'm good! ..., I have a hypercurriculum, a story, a recognition of seniority ... ".
If one is an Artist it is objectively, regardless!
What we do is clearly seen. Either he can do or can not do, or like or dislike. Point!
Then there is the data for which the Maestro does not like having to ascertain how little sensitivity exists even in the world of Art, where people resonate exactly in the choices of the Paintings, with what he has in mind in terms of artistic sensitivity and beauty , that is, little or nothing, if not absurdities beautiful and good coated with concepts pumped if not ponzati at full pressure and forcefully a thousand words grabbed and incomprehensible in the sense to give them the indetectability that makes Trend, Cultured, Difficult, therefore "consistent ", so the fewer physical exposures it does, the better it is.
Student (High School, 70s) and friend of Profs. Romano Lucacchini (Architect, Sculptor and Professor of Marble Technology at the Academy of Fine Arts in Florence), Nazareno Malinconi (Architect, Painter), pupil of Renzo Biasion (Art Critic), M.Bucci (Author of: Anatomy as Art - Anatomical Waxes of La Specola), and of other names of the Italian artistic scenario.
Same concept as before: the list of the big names of the Art of which one may have been students is another total non-sense. Being a student of John, Jerry, and Jake Doe, is not a guarantee of anything, as could happen in the Renaissance. Here we do not speak of having been "a shop" of great painters from morning to night. From all these names and "teachers" has unfortunately never learned anything at all - as much as he wanted and was right there for that ... - especially at the Liceo in Florence, for objective and typical reasons, who lived as a student of High school in the 70s of the twentieth century knows well, especially if he did the Artistic High School in Florence with strikes, teacher absenteeism, politicization at all costs that prevented only to study ...
In short, he had to, as always and for everything, make Socrates of himself by applying the Socratic Maieutic to himself by spontaneous process. As they say: he had to sing and play for himself. He basically had to do the self-taught in a public school, like everyone else.
The talents came out, those not kissed by the Charisma of the Art, ... no. Then, however, maybe the scamorze emerged on the market and the talent no, as often happens (the market likes the "garbage", just see how the world goes, what's in the national art Fairs, in galleries, in large part).
He has reactivated his artistic creation since some years, recently developing research and work in specific sectors, such as ballpoint Biro Pen Drawing, which he started in the '70s of the last century (for what he knows, the first in Italy), in a completely spontaneous and detached from high school education; the Sacred Painting, the Byzantine Iconography, the Romanesque and Gothic Painting, the Contemporary one with Medieval Techniques, through its highest technical form of expression, the Graphic Polichrome and monochrome Ballpoint Biro Pen, technique cultivated as previously mentioned already by the 70s, of which still retains some works of the time (shown here), never sold, although required, (and part of his private collection) for a form of historiographic reporting to be enjoyed day after day.
Alongside his activities as a publisher, Risearcher and Professional, he is now engaged in intensive work, research and study projects, both with his Technique Polichrome and monochrome Ballpoint Biro Pen and in Painting that, more, of Italian, Russian, Byzantine iconography, which makes it accessible to the public through collective and personal exhibitions (few and suffered) and Art Courses. open to everyone.
THE WORKS:
Presents an artistic production of contemporary figurative works of art (expressed in a refined and unique inimitable technique to "Ballpoint Biro Pen" both monochrome and polychrome), iconographic, symbolic, neo-surrealistic, however symptomatic of the almost obsessive search for perfection inemulable technique, as a graphic transposition and metaphor of a transfigurative spiritual research and process and an animic tension aimed at the perfection of the encounter with Unity.
A real form of spiritual painting, of meditation translated and manifested in graphic form, a technique that provides a concentration that requires the emptying of the mind from any alien or destabilizing thought, to allow, through graphic execution, contact with the deepest self, and at the same time with the highest spiritual dimension.
Entering this deep and hidden interior space means opening a portal towards the dimension of the Spirit and therefore of Heaven, of the Whole, of the Divine. What if it derives is a graphic flow full of spiritual vibrations, profoundly positive.
In order to create a defined and complete Work of Ballpoint Pen, of the quality and perfection of those expressed by the Artist, it takes a lot, a lot of time and work, like writing a large Byzantine Icon or creating a expensive Persian rug, ... the error is not correctable and is not allowed.
Mass production is inconceivable. But this is the challenge and the beauty of this technique.
The value of the Work also includes this important component, apart from the time taken and the unrepeatability of the Work itself; that is, what makes it an absolutely unique and unrepeatable product ...
The Polichrome Ballpoint Biro Pen Graphic used by Pietro Randazzo is the most complicated that can be used to make a chromatic effect, since the colors can not be mixed before, but must be superimposed and intertwined with art, in order to obtain the graphic result and chromatic desired.
To understand the amount of work required to produce a work of this type: 4 hours a day for 30 days are 120 hours, for 6 months of work are 720 hours, if we multiply them by 50 € of pure manpower, ie a 1 / 2 of what an artisan asks at that time, you get a sum of 36,000 €, which certainly does not pay the artistic value of the Opera itself, ... and even less an Artist can compare his labor to that of any craftsman (with all due respect), millions and millions of signs woven with meticulous patience and wisely placed, with direction and pressure of the hand (to create signs of less than 0.05) such as to allow the softer nuances, minding do not miss a "nervous" sign, as it would compromise the whole work, which would be to be thrown away.
A meditative and mystical concentration, accompanied by prayer, as what it takes to create, to write a Sacred Icon. The Price of the Works is superimposable to that of large works by established artists or to that of a large Byzantine Sacred Icon with natural pigments and gold leaf.
He believes that the errors that are made in the artistic and critical sphere are different. We follow geometrical-arithmetic rules for the evaluation, with specific coefficients, etc., that is, a work of art is reduced to a mathematical calculation, that of a mathematician has only that of a physicist in a quantum sense is present in its constructive consistency; the artistic aspect (the intrinsic, intellectual value of the work) and the work, practical, economic, trade union linked to its realization as a manufactured product, as realized in Time, which is still Life spent, are completely divided; we follow market rules, a market that has nothing to do with Beauty, Aesthetics, Art, Emotion, etc.
In fact we buy for investment the most horrifying and repellent the eye can see, in the name of a pure concept, a thought, a way of respecting the market increasingly enslaved to the rules of profit, as always established by those who have the money and therefore can create its own rules, which will become those of the mass of sheep that will genuflettere to accept them, declicking the critical sense and freedom of thought and reflection.
Just listen to the usual famous critics commenting on what are objectively real offenses to the intelligence, to the eyes, made canvas or sculptural artefact and you understand in what situation the world of art today.
The best they can produce with all their ruminations transformed into a pindaric locus flight full of forcibly pressed terms in a mass of unspoken terms and concepts that are hybrid between art, philosophy and psychology, certainly shaken to "rule of art" to form a illustrative picture made up of only vocal sounds, is the absolute non-sense.
And in case it had fortuitous sense, the indecent vision of the commented work would immediately remove the link.
In short, there are those who are able to buy (the same uncritical mass of cultural and sensory declickations) a real visual horror, a physical offense to the sensory system and to the genial intellect, watching every day that comes home that the product of an intellect absent and reflecting the sole will of its Lord and master, the pseudo-cultural trend of the world of "art" today, for pure and simple investment.
Which is how to marry the most repellent and ugly woman in the world, for the mere fact that it represents a marriage investment, without taking into account that when the clothes are taken away to reclaim the conjugal debt, the poor 'declickated' will have to rape his whole being just looking at it, without talking about satisfying it.
This is the IQ of those who now buy certain so-called works of art, ultraquoted for the aforementioned reasons.
Some, however, ... those generally considered simpler, ignorant, devoid of culture, basic individuals, ... is still able to marry a beautiful girl who will brighten his life from day to day, when with great pleasure will put his eyes on her and will excite all his senses to the only knowledge of finding it at home when he returns, without dowry or money, but with so much emotion, life, beauty, and sensuality. A true work of art!
The artist also creates works that are economically accessible to the general public of enthusiasts and collectors who are more attentive to saving, while wanting to allow artistic creations of the highest profile and emotional and sensual impact, alongside his works of peak, reserved for a small niche of lovers and collectors del Bello, with the greatest possibilities.
It starts from a few hundred euros to go up to several thousand, but never exceeding the limit of a few thousand just to stay on low-cost even for works that took months and months of hard work, and a very refined technique.
It also works on commission, even if the request must meet its criteria of inspiration of the commissioned subject.
FOR THE INTERESTED GALLERIES, it offers above all reliability and continuity of production and works particularly satisfying the need for Beauty and Aesthetics of the Customer and more attentive collectors, who, when they look at the Opera experience a real "aesthetic-artistic Plateau".
ERGO:
COLLECTORS who wish to own an exclusive PIETRO RANDAZZO Opera, can commission it to:
Dr. Pietro Randazzo, Ph.D.
Spain - Italy
348.0614238
WE CREATE UNIQUE AND EXCLUSIVE WORKS WITH POLYCHROME BALLPOINT PENS FOR AN ÉLITE OF PASSIONED COLLECTORS. Moreover, GRAPHITE, ACRYLIC, MIXED TECHNIQUES, BIZANTINE ICONOGRAPHY, NEO-ICONOGRAPHY © and MODERN ICONOGRAPHY, SCULPTURES, CONTEMPORARY WORKS OF GREATEST AESTHETIC EXPRESSION.
• Sacred Art • Neo-iconography © • Modern Iconography • Byzantine Iconography • Graphic Neo-surrealism • Graphic Neo-baroque • Graphic Abstraction • Other
POLYCROMA BALL PEN DRAWING COURSES:
Sacred Art, Contemporary Art. CAT-ART© COURSES (Meta-Art-Therapy©).