Sixty-five and sixty-six
“…what I wanted was a shot of light on a canvas that didn’t seem to come out of space enough…”
(Cesare Catania)
Year: 2019
Dimensions: 100cm x 80cm x 10cm
Technique: Painting-sculpture in silicone, acrylic and diamond powder on canvas
These two sculpture-paintings elaborate the concept of the “cut” already presented in the works of art number 60 and 63 and 64 entitled “The Cut (A, B and C Version). The D and E Version are two new versions of the Cut and on this occasion they are covered by the artist entirely with Diamond Dust. Here too, “Il Taglio” by Cesare Catania summarizes concepts such as movement, abstraction, spatial absence, spontaneity and emotional charge. The choice to cover the surface entirely with diamond dust is reflected in a material and experimental research in which the artist wants to highlight the roughness of the surface of the work with shiny and iridescent reflections. In this case the diamond dust is mixed with epoxy resin and encapsulated in a final covering that envelops the painting almost as if it were a transparent veil.
Technical Insights
“… in art there is no material more valuable than another… in contemporary art the true value of the work is given by the feeling behind each form of creation. In this case I chose the powder of diamonds because it gave that shine and brilliance that in that moment gave life to something that was inside me…”
(Cesare Catania)
His mastery in the use of the technique that involves mixing silicone and acrylic is now well known and consolidated. In these two works, Cesare Catania wanted to experiment with the use of a final covering by mixing epoxy resin and diamond powder. The production process first involves the creation of the colored work of art in paste and then, once the shapes and colors have been defined, a final passage of resin and diamond dust, mixed together and spread with a spatula and brush on the colored surface now dry.
The collection of works created with Diamond Dust now includes a diptych, an evolution of the previous “Cuts” created by Cesare Catania between 2017 and 2019.
The first, called “The Cut” D Version is an evolution of the “Open Cut (Confusion)” which symbolizes a simple stroke on a canvas which, due to the dissolution of the colour, tends to open up and break down. The Italian artist loves to play with the process of consolidation and dissolution of colours, and in this case he does so by fixing on the canvas the same feeling that had inspired him in that ArtWork Number 64, adapting the chromatic scale to the new blue and yellow version.
The second work belonging to this diptych, entitled “The Cut” E Version is instead an evolution of the first “Cut” A Version. The aesthetic similarities with that first ArtWork Number 60, are clear, but this time enriched by a final covering in resin and diamond dust.
The chromatic difference between blue, pink and yellow in this diptych makes the object represented particularly vivid.
The world premiere
On the occasion of the Exhibition at the Museum of the Villa Reale in Monza, the Italian painter and sculptor Cesare Catania officially presents for the first time the diptych called “The Cut” D and E Version, created with the now consolidated “silicone and acrylic” technique, with final covering in resin and diamond dust
The exhibition highlights not only the diptych presented but also 30 other works of art, including paintings and sculptures, which make this exhibition one of the cornerstones of the Italian painter’s artistic career.
To discover all the details of these works of art covered entirely with diamond crystals, enter the exhibition below and experience all the emotions of the Virtual Tour inside the Museum of the Royal Villa of Monza
The Artworks thus created find their definitive placement within frames which, as they are conceived, are also part of the work itself. The contrast between the white backdrop and the strokes of central color given by the canvases covered with silicone and acrylic, finely illuminated by shiny resin and diamond dust, finds its natural composure within satin black frames and gold borders. This choice also shows the author’s clear desire to place these two works within a broader project, a project that leads him to define the sculpture-paintings as his most natural expression halfway between two-dimensional and 3D space.
The diptych of works entitled “The Cut” D Version and “The Cut” E Version denote a style that is very clear to the author, that of wanting to represent feelings and emotions in 3 dimensions while keeping the work “hanging on the wall”. This characteristic distinguishes him in that artistic phase that stands between the cubist era and the purely sculptural one, an era that brings him closer to matter and experimentation, while still defining him as “a painter”.
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