FABIO CICUTO – Lyrical Abstraction
In painting, he finds total expressive freedom, which becomes the hallmark of his highly personal style of reinterpreting abstract essentialism.
Materials and colors of the urban landscape: tar is his preferred medium for experiments with “stains” and the memory of matter, transformed into a bearer of poetry linked to metropolitan reality. Line, color, matter, and compositional structure play a central role in the artist’s aesthetic vision, which becomes an archive destined to preserve memories.
The present, archetype of the boundary and the weld between past and future, materializes into a true fragment of time in which everything remains suspended between what has happened and what is yet to come. On an ancestral and blurred background, traces burst forth, projecting themselves toward the future.
In Cicuto’s paintings, built on contrasts and variations of shades, the object is decontextualized in order to take on a conceptual meaning. Recurring in his works are certain signs and symbols such as the Rose or the Heart, emblem of the well-known canvases from the Big Heart series, exhibited in Milan and Florence alongside Mario Schifano, Andy Warhol, Roy Lichtenstein, Shepard Fairey, and other great Masters of the twentieth century and exponents of Contemporary Art.
Exhibition Cicuto Motti Trani
Big Heart n. 3, 70×80, 2015, oil and tar on canvas
Among the many awards, exhibitions, international events, and the publication of his works in important catalogues and essays, we recall Il Metaformismo at the Chiostro del Bramante in Rome, Art and Time at Expo Milan 2015, and Imagine 2014 in Milan, Biella, Florence, and Assisi.
ELVINO MOTTI – Projecting Matter
Exhibition Cicuto Motti Trani
Evolution n. 2, 2016, Black Marble of Varenna
Born in Como, he graduated from the Art Institute of Cantù, first as a pupil of Giuliano Vangi and then as a Master of Art; later he attended the Brera Academy of Fine Arts in Milan to perfect and deepen his sculptural techniques. He has many years of experience as an art teacher in various institutions in Lombardy, working as lecturer, coordinator, and tutor (with particular expertise in gilded polychrome wooden works).
As early as 1975 he received his first official recognitions at the International Prize of Contemporary Art Artisti Oggi in Milan, and he has exhibited in numerous Italian and foreign cities, including Providence (USA), Dubai, London, and Dubrovnik.
Starting from sculptural technique, Motti has created several Landscape installations, enhancing prestigious public spaces with his works. For over twenty years, in the magical setting of Lake Como, he has been working on a project of “territorial sculpture” that fuses art and nature.
An artist in continuous evolution, he captures public attention with a style characterized by the contrast between sinuous, flexible surfaces and raw materials yet to be defined and shaped. The juxtaposition of unfinished and polished forms reveals the creative process, which asymptotically aspires to an ideal perfection. The mutable texture of Motti’s sculptures is seductive and elegant: it invites an experience that is not only visual but also tactile. The artist starts from a profound conception of matter to project abstractions, idealizations, and synthetic, emotional surrealism.
After numerous publications and covers in specialized magazines and catalogues, he achieved the prestigious recognition of the cover in the latest 2020 volume of the Catalogue of Modern Art – CAM 55 (Editoriale Giorgio Mondadori – Cairo Editore).
ALESSANDRO TRANI – Cathartic Concept
Exhibition Cicuto Motti Trani
Celestiale – Homage to Piero Guccione, 150×100, 2018, acrylic on canvas
A Roman artist, from a very young age he was immersed in the authoritative circles and exponents of Roman painting: from the movements linked to Via Margutta to the Art Studio Tre Association, before undertaking a path of growth that would lead him to exhibit throughout Italy and internationally in exhibitions and fairs. Notable among them: the Chiostro del Bramante with the Metaformists, as well as his participations in the Rome Triennale and the Venice Biennale (Grazie Italia exhibition at Palazzo Albrizzi, home of the Guatemalan Pavilion). He also counts numerous publications in specialized magazines/catalogues and projects with banking institutions such as Banca Fideuram Intesa San Paolo.
With a natural inclination toward unspoiled nature, he favors the sea element in compositions of abstract expressionism: his acrylics on canvas embody possibilities of journey and reflection. Imaginary and primordial landscapes, without place and without time, seem suspended between sky and earth. As viewpoints opening toward the suggestion of the horizon. The concept of dematerialized abstraction of the landscape into personal paradises evokes the suggestion of a catharsis “as in a post-shipwreck state,” before the open possibility of infinity.
Trani’s works engage in dialogue with the viewer, capturing the soul thanks to the artist’s ability to use color with ease. The shades of sky and water, always different, merge—or rather blur—into the horizon that barely appears. Presenting to the viewer a mysterious and fascinating nature. And in some cases through conceptual lines, as in Alpha and Omega. Beginning and End.
Alessia Caforio
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