Giuseppe Beddru

Freedom II - Ocean Inspired Painting

2020

Reminiscent of the Fauvist movement and Italian classicism, Italian artist Giuseppe Beddru’s bold outlines, dynamic brushstrokes and contrasting use of color make his work visually e...

Reminiscent of the Fauvist movement and Italian classicism, Italian artist Giuseppe Beddru’s bold outlines, dynamic brushstrokes and contrasting use of color make his work visually exciting. His work is extremely personal as well, drawing upon the Arab presence on the island where he grew up and his own Italian heritage. His paintings are indicative of self-discovery and emotional awareness, while also focusing on color, composition, and technical skill. This balance of visual dynamics and emotional response is essential to Beddru’s work. Many of Beddru’s multi-media paintings include the visual motifs of classical Greek bas-relief sculpture, flattened within the confines of Plexiglas. Athletes and female portraits in profile are reminiscent of coins and popular classical imagery. After having admired and studied the works of the great masters, Beddru left Italy to continue his practice abroad. This large vibrant one-of-a-kind 62 inch tall by 42 inch wide artwork is painted behind and on top of several layers of Plexiglas. Beddru's pictorial subjects are represented through ink-based mixed media, applied via reverse painting techniques inspired by Italian painters from the seventeenth century. The eye of the observer is simultaneously caught by both a fascinating chromatic balance and the mystery of enigmatic figures who, from the depths of a mythological past, bring secretive symbols to our contemporary present as messages to decipher. This original artwork is framed in a modern, black wood frame. Size and price include the frame. It is ready to hang. The artwork is signed by the artist on the front in white. Free local Los Angeles area delivery included. Affordable Continental U.S. and worldwide shipping available. A certificate of authenticity issued by the art gallery is included. The artist represents vibrant and beautiful characters that populate his artistic world and speak up loud to make their voice heard. His international exhibitions include highly ranked art galleries, art fairs, and museums. His artworks are part of distinguished international private collections, such as the collection of the Saudi Royal Family and notable art collector Graeme Hart (New Zealand). REPRESENTATION Artplex Gallery Los Angeles, California, USA EXHIBITIONS 2023 "Fragmented Fluorescence", Artplex Gallery, Los Angeles, CA 2022 "The Human Form", Artplex Gallery, Los Angeles, CA “Beyond Reclusion”, Le Neuf Gallery, Belgium Affordable Art Fair, Stockholm, Sweden Art Boom Focus Paris, France 2021 Artplex Gallery, Los Angeles, CA 2019 Affordable Art Fair New York Artspace Warehouse, Los Angeles, CA First Art Fair, Amsterdam, Netherlands Art Palm Springs, Palm Springs, CA Art Up, Lille, France ACAF Pop Up, Maasmechelen Village, Belgium AAF New York, NY London Art Bienalle 2019, London, UK...

Steven Colucci’s iconoclastic approach to performance and the visual arts have not only long blurred the boundaries between these disciplines, but have challenged its most basic assumptions. The title of this show references a most rudimentary dance move -- the plié -- and our assumptions of what to expect in relation to this. Also the suggestion that we can simply press a button and a preconceived outcome will be courteously delivered -- a form of prefabricated belief in itself. Steven Colucci’s artwork turns such basic assumptions on their heads. Finding early inspiration in the New York school of abstract expressionists such as Jackson Pollock with his action painting, and then further by his professor -- a then young Vito Acconci while studying at the School of Visual Arts, Steven Colucci went from exploring the raw existentialist experimentation of New York’s early painting and performance scenes, to investigating the other end of the spectrum -- the rigorously measured and controlled disciplines of pantomime and ballet; studying in Paris under the tutelage of world-famous Marcelle Marceau, and engaging with the concepts of dramatic movement pioneer and intellectual Etienne Decroux. Colucci has explained the difference between the extremes of pantomime and dance as being that pantomime forces movement via an internal capacity -- movement directed inward to the core of one’s self -- a source requiring extreme mental and physical control. Dance by contrast is an external expression; likewise requiring great precision, although instead an extension of self or sentiment that projects outwardly. While such historical ‘movement’ disciplines serve as foundation blocks for Steven’s artistic explorations, it is the realm in between that he is best known for his contributions -- an experimental movement and performance art that simultaneously honors, yet defiantly refutes tradition; rejecting a compartmentalization regarding art and movement, yet incorporating its elements into his own brand of experimental pastiche. Colucci’s performance works manifest as eerily candy-coated and familiar, yet incorporate unexpected jags of the uncanny throughout, exploiting a sort of coulrophobia in the viewer; an exploration of a cumulative artifice that binds human nature against its darker tendencies; highlighting traditions of artifice itself -- the fabricated systemologies that necessitate compartmentalization in the first place. It is evident in Steven Colucci’s paintings that he has established a uniquely distinctive pictorial vocabulary; a strong allusion to -- or moreso an extension of -- his performance works. Colucci’s paintings depict a sort of kinetic spectrum, or as he refers to them “a technical expression of physicality and movement”. Whereas the French performance and visual artist Yves Klein used the human body as a “paint brush” to demarcate his paintings and thereby signify a residue of performance, Colucci’s utilization of nonsensical numbers and number sequences taken from dance scores, as well as heat-induced image abstraction depicting traces of movement likewise inform his vocabulary. In the strand of the choreographed, yet incorporating moments of chance, Colucci’s paintings represent an over arching structure; a rhythm of being and state, yet detail erratic moments -- moments that denote a certain frailty -- the edge of human stamina. Colucci’s paintings dually represent a form of gestural abstraction -- and also the reverse of this -- a unique anthropomorphization of varying states of movement -- that sometimes present as a temperature induced color field, at others are juxtapositions of movement and depictions of physical gestural images themselves. Colucci’s use of vernacular and found materials such as cardboard evoke his mastery of set design, and also reference a sort of collective experience of urbanity and the ephemeral. Such contradictions seem to permeate not only Steven Colucci’s artwork, but also are reflected in his person -- one who grew up in New York’s Bronx during a zeitgeist moment in visual and performing arts in the 1960s -- one who shifts with ease from happenings and experiments in New York City, to his meticulously choreographed megaproductions at Lincoln Center or starring in the Paris ballet...

Beautiful dreamy artwork was done by masters Jenik Cook. The color combination like live music very relaxing color tone. Hand-signed lower right by the artist. Certificate included...