Jean Corliano
Unique piece from the 30 pieces series, On paper, Size is 27 5/8 x 19 3/4
The work relates to the recent events in the free world. Problems related to intolerance and fundamentalism. There is an acceptance of the loss of freedom, it is a type of mafia omerta where you live in fear. We live in a kafkaesque period. In the recent years in Europe many teachers have been killed threatened trying to teach art history by students and parents influenced by fundamentalism. The work shows classical nudes and deformed hands. The nudes come from the issue which happened in France. An art teacher was threatened from showing a XVIIe century art work of Diane et Actéon by Giuseppe Cesari. The piece suggests that painting. https://news.artnet.com/art-world/french-school-issou-renaissance-painting-student-accusations-2408051/amp-page
The hands have multiplying fingers. The religious, the empathy is deformed, maybe we need more fingers to pray to go back to a dane world
Unique piece from the 30 pieces series, On paper, Size is 27 5/8 x 19 3/4
The work relates to the recent events in the free world. Problems related to intolerance and fundamentalism. There is an acceptance of the loss of freedom, it is a type of mafia omerta where you live in fear. We live in a kafkaesque period. In the recent years in Europe many teachers have been killed threatened trying to teach art history by students and parents influenced by fundamentalism. The work shows classical nudes and deformed hands. The nudes come from the issue which happened in France. An art teacher was threatened from showing a XVIIe century art work of Diane et Actéon by Giuseppe Cesari. The piece suggests that painting. https://news.artnet.com/art-world/french-school-issou-renaissance-painting-student-accusations-2408051/amp-page
The hands have multiplying fingers. The religious, the empathy is deformed, maybe we need more fingers to pray to go back to a dane world
Unique piece from the 30 pieces series, On paper, Size is 27 5/8 x 19 3/4
The work relates to the recent events in the free world. Problems related to intolerance and fundamentalism. There is an acceptance of the loss of freedom, it is a type of mafia omerta where you live in fear. We live in a kafkaesque period. In the recent years in Europe many teachers have been killed threatened trying to teach art history by students and parents influenced by fundamentalism. The work shows classical nudes and deformed hands. The nudes come from the issue which happened in France. An art teacher was threatened from showing a XVIIe century art work of Diane et Actéon by Giuseppe Cesari. The piece suggests that painting. https://news.artnet.com/art-world/french-school-issou-renaissance-painting-student-accusations-2408051/amp-page
The hands have multiplying fingers. The religious, the empathy is deformed, maybe we need more fingers to pray to go back to a dane world
JEAN CORLIANO: Disasters in Course
We live in a violent, hyper-saturated, and ever-maddening era - a world on the brink of furious combustion. From threats of climate change, blazing terrorism, and nuclear war to catastrophic school shootings and the bombardment of shared information in cyberspace ad nauseam. From an aesthetic point of view, Jean Corliano's work is galvanized by the massive intensity of explosions, drawing from his subconscious through a systemic application of grattage and layering. He goes back to a primordial sense of how life on Earth may have begun and may, if rational action does not place, end in a tragic blast. You'll see referential aspects in the work, including the disappearance of Malaysia Airlines flight MH370, the Fukushima radiation disaster, pop cultural graphics, and the looming symbolism of ISIS, but what you'll ultimately see is the radiant nebula of a creative mind-one that still captures beauty and hopes for a better future.
ARTIST BIO
Jean Corliano's journey into the realm of art began with a moment of lucidity: his eyes opened wide to absorb the world and become highly sentient of its beauty, madness, violence, and absurdity. Painting and creating allowed him to explore further, as he delved with sheer force beneath the surface, layer upon layer, into the nebulous terrain of deep
abstraction.
Belgian-born Corliano grew up surrounded by figurative masterworks by Flemish painters from his grandfather's collection, which roused his initial interest in art. Following a trip to Milan--where he solidified his desire to paint-he worked as an art director at an advertising agency in Brussels, but his nocturnal hours were spent at his studio on the Chaussée de Louvain, honing his craft and painting late into the night. Splayed on the floor, the canvas beckoned like an open territory, a chance to let his mind, swarmed by dizzying external stimuli, expand to its farthest reaches.
After several successful exhibitions, Corliano traveled to Barcelona, working and painting there for 10 years and winning a prize at the biennial in the city of Vic, Spain. Now based in Miami, he continues to create works that are highly visceral-blasting out vigorous forms, unabashed color, and spellbinding motifs gleaned from a menagerie of whirlwind explosions, chemical compounds, and sexual innuendos.
You may look at a painting, entranced, then snap out of it and wonder about the possibilities of its meaning, perhaps toying with notions going back to the Big Bang and onto natural disasters, the follies of war, and the darkness of the human condition-its faults, fears, addictions, pains, and destructive tendencies. Yet, within all this, you realize you can just take what you want from it, and go on mucking about at your own pace, still reeling and enlivened by all its aesthetic glory.
