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«Passion and beauty is an infinite source of inspiration»

PASQUALE GIGLIOTTI
ARTIST


ABOUT

1957 Born in Sambiase, Italy.

1973 Commercial training.

> 1975 Autodidactic training in drawing and painting.

2008 Beginning of cooperation with Alexander E. Räber Gallery in Zurich.

2012 Colaboration with Gallery Kunst7.

The artist lives and works in Switzerland.

Pasquale Gigliotti’s work is shaped by transformation and love of experimentation as well as constant striving for technical refinement. From synthetic resin colours, over spatula, sand and glaze techniques to the acrylic painting, he is constantly seeking new challenges. His ambition culminates finally in the conversion of a photorealistic style. At an early stage a social critical approach begins to show in his motif choice. Finally what always created a great passion and work strength with numerous artists becomes ever more exciting for him: to paint contemporary nudes. To catch the lively, concentrate on shades, curvatures and outlines fascinates him. Nevertheless his work remains the critical view of a world citizen, who argues intensively with the economic and cultural waves of the present.



The woman as a motif and representation of the spectrum between femme fatal and femme fragile becomes a central element of his oeuvre. It shows the femaleness in all its facets – provocative, mysterious, innocent - and captures them with virtuosic precision on his large sized canvases. Thus, his pictures result in seducing the male viewer with their erotic characteristics, whilst enabling the female viewer to see themselves reflected in the pictures.


For Pasquale Gigliotti his special shade effects are a constant experiment, which are intensified by his subtle play of colours and show off his extraordinary skills with the paintbrush optimally. Consciously leaving out unnecessary details, he emphasizes the things most important to him: beauty and passion. Thereby the physiognomy and the posture play a central role.

Pasquale Gigliotti creates perfection imperfectly and imperfection perfectly, as he says. But what are the perfect imperfections? Are they the motives themselves? Or is it the conscious reduction of the form in it’s own, subjective way, which provokes the recipient? This to fathom, is incumbent on each viewer when stepping into a dialogue with Pasquale Gigliotti’s paintings.



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