Technique:
These artworks will be created on wooden boards, prepared with plaster and glue in accordance with ancient traditions. A series of traces will be imprinted on these boards using oil pigments, a technique reminiscent of the methods employed in the creation of museum forgeries. Subsequently, the pigment bases will undergo retouching and finalization by hand, using oil paints applied with a brush.
Polychrome wooden frames will be crafted to complement one or more of the artworks, with colours used for the gilding background.
Concept of the artwork:
Like the previous series, also this one draws its inspiration from some Flemish paintings portraying snow-covered landscapes. The relevant artworks are housed in museums or private collections, preserved and safeguarded by meticulous museum conservation regulations. These measures ensure that the paintings are protected from ‘ageing’ or undergoing changes over time, in contrast to the evolution of natural landscapes. The objective is to imagine and simulate an accelerated degradation of the portrayed landscapes, allowing simulated weathering rules to influence and interact with them. The ultimate abstraction of the painting subject is suggested by the forms that an actual snow-covered landscape would assume during the melting of the snow layer. As happens in the previous series, also this one conveys an idea of dilated time, considering how quickly a snowy landscape would fade away in nature.