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Installation Views


Works

Figura che si vergogna

ALESSANDRO PESSOLI, Figura che si vergogna, 2014

Landscape with contractors

ALESSANDRO PESSOLI, Landscape with contractors, 2013

The yard at a late time

ALESSANDRO PESSOLI, The yard at a late time, 2013

The artist

ALESSANDRO PESSOLI, The artist, 2013

La mia faccia antica

ALESSANDRO PESSOLI, La mia faccia antica, 2013

La luna incatenata

ALESSANDRO PESSOLI, La luna incatenata, 2014

The performer

ALESSANDRO PESSOLI, The performer, 2013

The dandy

ALESSANDRO PESSOLI, The dandy, 2013

Il poeta

ALESSANDRO PESSOLI, Il poeta, 2013

The last folks

ALESSANDRO PESSOLI, The last folks, 2013

The home boy

ALESSANDRO PESSOLI, The home boy, 2013

The older

ALESSANDRO PESSOLI, The older, 2013

Fancy head

ALESSANDRO PESSOLI, Fancy head, 2013

Ritratto Limone

ALESSANDRO PESSOLI, Ritratto Limone, 2013

Ritratto Zucca

ALESSANDRO PESSOLI, Ritratto Zucca, 2013

1950

ALESSANDRO PESSOLI, 1950, 2013

CSULB Forensics

ALESSANDRO PESSOLI, CSULB Forensics, 2013

Cherry Face

ALESSANDRO PESSOLI, Cherry Face, 2013

The Italian

ALESSANDRO PESSOLI, The Italian, 2013


Figura che si vergogna

The vision of the end, the short-cut future, and the search for warmth are some of my recurring themes.

Melancholy is like a flame that burns and destroys, uncovering something tender and vulnerable.

The first times that I included a pipe or a chimney in a figure, it was a gesture of discouragement.: the figures, even if interrogated, remained mute, illegible. They were silently consuming themselves from the inside, following some kind of obscure desire. Smoke and ash.

I was erasing and repainting, and then erasing again. The figures were like burned thoughts, vanished energy.

Inserting the chimney was the acknowledgment of this experience. The chimney signifies the presence of a flame, the fire of an inner transformation.

Over time, a stratification of meanings formed, like in a chain: the stove, the chimney, the smokestack,
the family and the warmth of the affections,
the continuous agitation of mankind,
the inner being as a flame that burns, the secret transformation of all things, our inner desires slowly burning,
Sex.

Figura che si vergogna, in its first version, had a figure sinking in the soil on his day of judgment, exposed to the taunting public, as in the Middle Ages.

This figure contains in itself the accused, the witness, and the convicted.

I thought about The Banishment from Paradise and I researched figures that cover their faces with shame. I found images of desperates and killers along with paintings of Michelangelo and Masaccio.

The past resurfaces as a never extinguishing fire. Everything changes and transforms but the vulnerability of mankind – like his violence – remains a constant.

The soil became a bronze hideout with two wings that close to protect the figure. My friend described it as a nest. In this desolate land, I imagined insects and parasites laying eggs, faeces and dirty wastepaper, lizards looking for a spot in the sun. They are malformed, dead. Worms like spermatozoa.
A sexual impulse, old like the guilt.

All of these stand above a stove – it is the domestic fireside.
The ancient Romans believed in the family fireside’s deities, they would watch over the household. A private cult. At the home fireside people remember their dead, tell stories, imagine the future.

The ancient fire of the world was domesticated by man. It is the beginning of the culture.

-Alessandro Pessoli

ALESSANDRO PESSOLI

ART BASEL | FEATURE
June 19 - June 22, 2014
Opens June 18, 11:00 AM - 8:00 PM