In the last years, painting was able to unite with the new digital format given by the technological evolution to the extent of defining the interdisciplinary outline of what I have defined as "redelighted image". This intangible technology has opened the doors to an image development where we observe a recovery of prodigious values and rituals that connect the new era to a premodern past, reemerging old archetypes and a new collective dimension where the individual lives through the look and laws from others.
In an era of gender redefinition, painting keeps its importance by succeeding, in the best of the cases, to renew itself from an iconographic point of view. This means that it keeps its own characteristics, implicit to the concept of "techne", of handcrafted training seen as a religious sublimation of artistic bypass with reflective and attentive manner. It combines this ancient calling with the capacity to observe its existence with a disenchanted but participating eye, decontextualizing from its ephemeral material contingency in order to take shape in the dimension of the symbol.
From the moment that the art was identified in a new social reality, which took place in the Nineteenth Century, painting changed its characteristics to establish in a different and more complex relational system. It has been revealed in two occasions, obviously different from one another, to protect its founding values: in the beginning of the industrial revolution following the Romanticism trend, at an auratic level, and after 1975, following the beginning of the postindustrial society and the crisis of Conceptual art.
I have been observing the events associated with painting since 1984, beginning of my career as a reviewer and cultural coordinator. In harmony with my vocation and in contact with young authors from that year, I have analyzed the mutations that affected painting after the Transavantgarde movement, in an atmosphere of multidisciplinary fusion and significant emphasis, strongly influenced by city taste, by fashion, by music and above all by comic strips.
In the last years, painting was able to unite with the new digital format given by the technological evolution to the extent of defining the interdisciplinary outline of what I have defined as "redelighted image". This redelight stigmatizes an era in which it was dominated by "logos", after the long-lasting predominance introduced by the Renaissance and confirmed by the Enlightenment.
This intangible technology has opened the doors to an image development where we observe a recovery of prodigious values and rituals that connect the new era to a premodern past, reemerging old archetypes and a new collective dimension where the individual lives through the look and laws from others.
A young, mature and professionally developed artist like Thomas Li Vigni allies his vivid inspiration with digital images. Such work is conducted not in order to flatten the reality, as it happened to Italy, but to make the inner being communicate with the exterior in a scope fulfilled by the will to narrate and to highlight the symbolic aspect we share, favoring an imaginative fragment as an element suitable to shine a light on the complexity. Li Vigni's works go beyond the descriptive digital format. His paintings are printed on Plexiglas or PVC canvas and then undergo other procedures to become real installations, like his series "Segmented Faces", one of his distinctive works. From a first hand draft on paper, which brings his strong lines, Li Vigni turns to a digital finishing when it comes to be living models. The final piece is astonishing: the artist succeeds to give a real morphology of expressions bringing hidden aspects of personality that cannot be perceived at first sight. In his own words, Li Vigni's described the digital channel as the "future of painting".
The proof of his capacity to cover different styles is seen in his recent exposition "A Fior di Pelle", set up by the School of Anatomia Artistica at Pinacoteca Albertina of Turin. Li Vigni has experimented the "osteological study" and the "mycological study" based on "Nudo virile con corona d'alloro" by Marco Calderini, showing the painting in three levels by means of printing using digital techniques on Plexiglas. Ranging from a past masterpiece, establishing the theoretical foundations of the Academies, like anatomy, since the Seventeenth Century and adding the new technologies of our times, the artist was able to create a time-space path. This shows once again the circular essence of art, where past, present and future overlap in close relation.
Edoardo Di Mauro, June 2014.
12th Istanbul Biennial of Art
con Corona d'Alloro"
Ex Lavatoi of Cuneo
Speed Painting session
"A Fior di Pelle"
Speed Painting session
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