SERGIO AIELLO

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Large canvas So Close So Far - Metamorfo Seasons Mirrors on waters Looking at the sky Crossing the black Vision
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Paesaggio in Rosso,acrilico su tela, dipinti di paesaggi astratti di Sergio Aiello artista contemporaneo al sito sergioaiello.com

Paesaggio in Rosso,acrilico su tela,acrylic on canvas, paintings of abstract landscapes by Sergio Aiello contemporary artist at sergioaiello.com

Paesaggio-dalla-panamericana, acrylic on canvas, paintings of abstract landscapes by Sergio Aiello contemporary artist at sergioaiello.com

Paesaggio in Rosso,acrylic on canvas, paintings of abstract landscapes by Sergio Aiello contemporary artist at sergioaiello.comm

Blumarina,acrylic on canvas, paintings of abstract landscapes by Sergio Aiello contemporary artist at sergioaiello.com

Blumarina ,acrylic on canvas, paintings of abstract landscapes by Sergio Aiello contemporary artist at sergioaiello.com

Paesaggio-dalla-panamericana, acrylic on canvas, paintings of abstract landscapes by Sergio Aiello contemporary artist at sergioaiello.com

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Paesaggio in rosso, Red Landscape, acrylic on canvas, paintings of abstract landscapes by Sergio Aiello contemporary artist at sergioaiello.com

Paesaggi paralleli, Parallel Paradises, acrylic on canvas, paintings of abstract landscapes by Sergio Aiello contemporary artist at sergioaiello.com

Paesaggio su fondo bianco, acrylic on canvas, paintings of abstract landscapes by Sergio Aiello contemporary artist at sergioaiello.com

Blumarina, acrylic on canvas, paintings of abstract landscapes by Sergio Aiello contemporary artist at sergioaiello.com

Guardando il cielo, looking at the sky, acrylic on canvas, paintings of abstract landscapes by Sergio Aiello contemporary artist at sergioaiello.com

Guardando il cielo, acrylic on canvas, paintings of abstract landscapes by Sergio Aiello contemporary artist at sergioaiello.com

The Space-Landscape in Sergio Aiello's paintings

..exploring human nature, its inner landscape, by means of the natural landscape and with passion, the link between us and the essence..

SO_CLOSE_SO_FAR
is a project in progress for two years: the theme is a visual reflection on contemporary spatial and temporal dimensions, in the double meaning of parallel time and a more current, contemporary artistic spatial dimension. The space-canvas research is the evolution of Sergio Aiello's artistic research: it changes from making the infinite in front of us visual by means of a horizon endlessly towards the "doubling" of the perspective at the extremes of the space-canvas. It is a change of vision, of awareness that on the one hand gladdens our soul but not with certainty: between the two perspectives there is our life, that space of freedom where we seek the meaning of life, its infinity. The infinite that confirms our finiteness. Art comes to the rescue, it combs through which the "knot" of the infinite comes, it makes it perceptible to you, this is beautiful, it lifts our soul and then, then we act to untie this knot.

"PARA//EL"
..synthesis and decomposition into essential elements can be found in the canvases of Sergio Aiello, whose research focuses on the abstraction of the landscape. In the project "So_close_So_far" yes inserts "Tempo presente", a monochrome visual reflection in the "whitest white" on contemporary spatial and temporal dimensions, always parallel, indefinite and extremely current. With Complementary Landscapes the artist makes the endless horizon perceptible, doubling the perspective at the extremes of the space-canvas. It is a change of vision that allows to be aware of the infinite, without, however, giving certainties about it: what one sees, in fact, is not always fully understood. The infinite, therefore, a concept that remains
inexplicable in its entirety, it becomes an interesting means of confirming our finiteness.

"METAMORPHO"
..the forms, until now with a prevalent motif of almost regular bands of black and white which with their reiterated horizontality identify a precise horizon, change towards the sweet melting of the contours, as if the rigorous artistic research has found a junction, and somehow hovers in the more recent works a less severe, milder and perhaps more forgiving spirituality. What happened? The rigor of the flow channeled in bands, almost an architectural partition of the canvas, with its je ne sais quoi of certainties, has now spread out in new equilibriums: the force that appeared univocal in the rigorous drive it fragments into components that intertwine and give the work a pleasant dynamism. There is a force that keeps ai edges the colors that press and there is the opposite force that presses for the colors to invade the whole background. There is no chance and it is not chaos, it is enrichment of the artistic language with further expressiveness able, as Sergio has always wanted in his trajectory, to activate between the users and the creator a discussion on an advanced proposal. Another topos of Sergio, the rows of small paintings all of the same size, which I always have suggested frames, snapshots, instants of the more or less extended feature film which is the passage of time, are also involved in a new expressiveness. The simple and commonly accepted way of spending time has perhaps proved to be no longer able to contain the inspiring experiences. Maybe too far away and confused to remember you will find the images you don't want to lose, the experiences you don't want to forget. And so it is no more sufficient availability of time as used up to now of continuous flow, which reassures in the direction and above all towards, like a placid river that flows the fruitful plain from the Alpe to the Sea...... One perceives that the flow of the river, the time of each life, finds a bend beyond which it does not resume the expected motion, but it goes back: we witness the nostos of a mass of water (and of instants) that writhes, presses, compresses an unknown space in search of something what will be in what has been

"I FOLLOW THE LOOK"
..like the person of him his painting is overwhelming, it is real. It is not the usual fluff but "solid reality". Someone calls him a landscaper for me he is a poet. In this case I recalls Ungaretti. Sibylline but exhaustive. Scarce and redundant at the same time. Beyond the technical gesture (superfine and masterful) beyond the "pleasing" colors (for me aphrodisiacs) his works are an "enlighten me of the immense". Their pictorial minimalism hides a world to discover.
I immerse myself in his paintings without taking a breath because dying in them would be a nice death. In a glance at the sky I could breathe the immortality that we all would like and an artist even more. Beyond the strokes of the spatula, the overlapping of material, beyond any atavistic memory, Sergio's paintings make you feel good. To experience a picture of him you have to touch it you have to smell it and then to top it off you could lean an ear on it and listen to the buzz of the earth or that voice who maternally invites you to stay calm. To light up with infinity is not impossible. Just believe it and be lucky enough to meet the one to whom a gift has been given: to make you experience emotions that today we risk not knowing how to live anymore

"INTERNO -INTORNO"
we are faced with landscapes which, despite the artist programmatically starting from reality, avoid the descriptive reproduction of nature. With a chromatic rhythm marked by blues, burnt and burnt earth, traces of burning lead amidst dusty coals, the views of the marinas follow one another, often innervated by transversal drippings of virgin enamels. Earth and water touch and collide, embrace and intertwine. Real space and the image they follow canvas after canvas without cracks, dissolving realistic details into homogeneous areas of color in space. Aiello acts synthetically colouristically isolating the subjects from the context (in fact the subject now seems to have become, at the limit of relevance, conceptually fluid and scarce bearer of interest if not for its possible manipulative potential), while the drawing, the "forma mentis" that designed the scene, now it only serves to define the lines of force within which the main elements of the composition unfold. It proceeds by synthesis, by concentration, layer after layer, thickening at the core, amalgamating at the edges, diluting at the edges, seeking dissolution, chasing the soul of the figure (of a slavish imitation) now disappeared on the horizon, sublimated in the name of a wider perspective in which she has flown to take refuge after having been driven from the scene. They are the spots of color that draw his landscape, mixed, superimposed, scratched: dense matter spread on a canvas that shines different, extraneous, dazzling and intimidating, which embodies the stylistic results of the artist, taking his pictorial grammar to the extreme. The paint remains thus in a stage where the image, still recognizable, is irreparably transformed, even flaked up, into a personal and lyrical vision, into the intention to reveal a luminous sensation, a formal allusion. The atmosphere of a real landscape re-emerges on the canvas which, in the beholder, penetrates and resonates deeply and in which one can dive back with greater vigor, rediscovering that same reality from which the painter seemed to have distanced him. In eliminating the details, in the almost total absence of description and narration, the exhibition thus seems to indicate the tendency towards a total autonomy of Aiello's research, parallel and therefore detached from that continuous flow of images that is reality. The artist opposes a force to the mimetic copy or its figurative reinterpretation able to lead him towards a total independence of (his) painting from any glimpse of the world, seen or pre-existing. Herein lies its legitimacy to exist as a painter and as a landscape painter even on the threshold of the third millennium, in the full and almost total globalizing dominance of Contemporary Art.

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