George William Mote

Landscape - Oil on Canvas by G. W. Mote - 1888

1888

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After touring Europe on a motorcycle, he arrived in Berlin in 2012, where he won a residence for artists with a pictorial series on massification and nihilism. In 2014 he was invited for a residence in Colombia, and subsequently he has travelled to Mexico, Guatemala and Cuba. The experience of Central America affects his painting so much that it becomes gestural and dominated by strong and bright colors. Contact with indigenous communities contributed to the formation of his thought and poetics, which suggests accessing an irrational dimension that cannot be explored through science and technology.

After touring Europe on a motorcycle, he arrived in Berlin in 2012, where he won a residence for artists with a pictorial series on massification and nihilism. In 2014 he was invited for a residence in Colombia, and subsequently he has travelled to Mexico, Guatemala and Cuba. The experience of Central America affects his painting so much that it becomes gestural and dominated by strong and bright colors. Contact with indigenous communities contributed to the formation of his thought and poetics, which suggests accessing an irrational dimension that cannot be explored through science and technology.

I am not afraid to define it as a metaphysical painting, - says Angelo Crespi - and right in the suffix "beyond" (in Greek "meta") also of the title "Oltremare" the intent to climb over the wall of the sensible and the real is revealed. There is another vein to which the new paintings of Nahmad refer and it is that of Romanticism, in the strong idea that art should represent the sublime, not the beautiful. The skies like John Constable, thick with purplish blue clouds (such as "Rainstorm over the Sea" of 1828 which anticipates by a century modernity), the stormy seas like William Turner, give the viewer the idea of infinity and vastness of nature compared to the finitude and misery of the human. If Caspar Friedrich...

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