Roda': June 2013

Friday, 28 June 2013

Il VETRO SECONDO TIFFANY a Montreal

(Pubblicato il 25 marzo 2010)

IL VETRO SECONDO TIFFANY

a Montreal

Famoso maestro dell′Art Nouveau, specialista di vasi in vetro e` Louis C. Tiffany, nato nel 1848 e morto nel 1933.

Mantiene contatti estremamente solidi con la scuola francese e l′artista Galle´, espone nelle gallerie parigine e collabora con la Maison Bing.

Nella bottega del padre, considerate all′epoca un piccolo museo nella New York del secondo ottocento, il giovane Louis C. Tiffany viene a contatto con il meglio di quello che viene prodotto nel nuovo stile in Europa : in Inghilterra, Germania, Francia, Italia e Austria L′ Art Nouveau, il cui stile non era ridotto semplicemente all′ uso di nuove forme decorative, viene allargato a tutte le sfere dell′arte applicata, infatti ben presto l′espressione stessa per caratterizzare questo stile, calza stretta a questo movimento artistico, che si vuole di piu largo respiro.

Nella bottega del padre, con un nome e una clientela ormai stabiliti, inizia la carriera del giovane Tiffany.

Interessato fin dall′inizio all′applicazione delle tecniche aquisite negli anni di studi negli Stati Uniti e poi in Francia, non gli e`difficile applicarle su una larga gamma di oggetti, includendo ceramiche, gioielli e`soprattutto nei vasi, in particolare nei vasi di vetro, dove la brillantezza, le trasparenze e le sottili vibrazioni vengono pienamente rilevate.

I vasi dalle forme alquanto irregolari, dai colori che con leggerezza richiamano, influenze orientali, Persiane e Turche.

Dopo il 1900, Tiffany produce su larga scala ed in produzione industriale avanzata, una larga gamma di oggetti, che meglio evidenziano quello che e` il suo particolare stile, nella lavorazione del vetro, dandogli una specifica nota nord americana all′ Art Nouveau.

Il museo delle belle arti di Montreal, presenta la mostra, prima ed unica in Canada`, rendendo un omaggio all′estro creativo ed esclusivo di Tiffany.

La mostra si articola nelle sale del museo, circa duecento sono le opere: dalle bellissime lampade, alla vasta scelta di vasi in vetro dalle forme caratteristiche, dai disegni e ai quadri, gioielli e foto d′epoca.

Aperta fino al due maggio, l′occasione e` d′incontrare in Tiffany la primavera della creazione.

Eduardo Roda`

artist

ARTIST

I'll introduce myself,

I am Eduardo Rodà, an artist in current art, who works from Montreal.

Born in 1954. From 1960 to 1980 I lived in Italy, between Calabria ( Reggio di Calabria ), Piedmont ( Torino ) and Valle d'Aosta ( Aosta ) .

In Turin, I completed my studies at the Albertina Academy of Fine Arts.

In 1980 I decided to leave Italy and come back in Montreal.

To my credit about fifty solo and group exhibitions in Montréal and in Québec and Toronto, as well as exhibitions in Italy.

From 1999, permanently at the Galerie Bernard in Montreal, until 2012.

My works are part of numerous private and public collections.

ARTISTIC VISION

RESEARCH PROCESSES

In my paintings, I emphasize similarity and replication,

through the appropriation and reformulation of my previous paintings (Image-Model).

The work manifests itself with a contemporary approach, far from

the absolutist, purist, and idealist positions that characterized the art of the historical avant- garde and 20th-century modernism.

As the natural heir to a modernist culture, I refer rather to the image generation.

I was initially influenced by the critical theory of Marshall McLuhan, the Canadian theorist of media and the global village.

My artistic work evolves as a critical exploration of seeing.

Since 1985: I have been working on the idea of cinematic time, a time made up of sequential segments, like representations of abstract films.

Simple images that, through drawing, refer to an analysis of the ability to capture the meaning of images and information and to make a choice.

Subsequently, through association and similarity, the canvases become monitors, where it is possible to perceive the framing, the pixels, the color field, and the points of view similar to the movements of a movie camera.

The splitting of the image begins a little later; the square becomes an object in painting, and painting becomes the object itself, rather than representing a set of pure abstract forms.

This way of looking at painting led me, around the year 2000, to a new chapter, that of [Detail] - [Detail Pages] moments of a common denominator equivalent to pausing on an image during a long broadcast.

The details exist in a fragile balance within an image that exists and surpasses the very power of these details to emerge as an independent work of art.

[ Settled Details ] will characterize my work from 2005 to my most recent works, where a multiplicity of details coexist on the same canvas to create details, forming puzzles of various sizes within new screens.

bibliographic selection of exhibitions

Aosta Municipal Gallery 1974

First solo exhibition

Art Galery Centro Parete Torino Italy 1980

(Opera '80 group exhibition ) © Rodà Archives

Christopher Columbus Community Center Montreal 1985 © Rodà Archives In-Tensione

Université du Québec à Hull Qc.1992 © Rodà Archives

Framings - Sequence with blue background

Galerie Action Art Contemporaine Saint-Jean- Sur-Richelieu QC. 1996 © Rodà Archives

Double

......................After a series of exhibitions in the 80s and 90s, in the 1997, I took part in the collective exhibition Trajectoir/Peinture curated by the art critic Jean Dumont who specified his field of observation, looking particularly at the activity of the artist-painters of Laval and Montréal who had started their professional activity at the beginning of the 80's................................