Roda'

Monday, 3 March 2025

Traffic on the system

YEAR XIII 2025 No.75

Traffic on the system

My artistic research at the thread of the years has focused on the “critical aspect of seeing” . Canvases by association and similarity become Screens where it is possible to perceive the visualization of such themes as: Points of View - Framing - Backgrounds - Assested Details - Loading Image - Wall Monitors - Viewed from Close Up. The canvases grouping themselves into Series and Groups, are the emotional and intellectual phases of the artist's life

Direct consequence to an impossible vision of the overall, of the totality, and in opposition to this, arises a fragmented vision of assorted details.

The scrolling of web pages ( Detail Page ) is an endless loading images,

a direct and endless transmission of information.

A still image captures privileged moments, freezing them for a moment in a giant puzzle, in wall monitors of various possible formats.

The mechanism of isolating and looking closely brings us to the details, complex visions scrutinized and enhanced, where textures play with light enhancing the various chromatic moments.

The similarities with the world of visual security systems are accentuated, in “ Closed Circuit ” this aspect already investigated in an installation, (at the Matane Art Gallery in 1997) .

In the works considered here from the series Assested Details, from the 2000s of the new century, the circuit remains active it is unfolding under our gaze, we are examining it, reading it in depth to seek further information, the vision is in place, we are producing the work.

Similar to the pages of the web, punctuated by colored fields, the empty spaces wait to be filled with a possible representation but will remain empty and silent, the vertigo of the void takes over our sight and the background of color becomes the favorite background of our navigation.

Similar to large horizontal screens, they perpetuate and parade like a non-visible writing of forms, containers of unreadable messages, propaedeutic as games, to learn to move in empty spaces.

....[ The details that live a fragile balance in an image that exists and overcomes the very strength of these details to rise to an independent work ] Gianguido Fucito

The details, are found to create a Trafic on the system.

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Tuesday, 28 January 2025

Restricted spaces of freedom

YEAR XIII 2025 No.74

proscenio170@gmail.com

Restricted spaces of freedom

Des espaces de liberté restreints

Spazi di liberta' ristretti

Beginning with the Loading Image 5 work, the artist had conceived three other canvases, which were progressively reduced in size, until he arrived at the smallest surface with the emblematic title: Restricted Spaces of Freedom.

At the time of its creation, the three canvases were taking their cue from the political vicissitudes of the country Canada, and three bills , which in the artist's eye, were restricting everyone's individual freedoms for the net benefit of an increasingly oligarchic power.

For the artist it was a return to a renewed and manifest political engagement, after the work of the years '77-'85 on horizontal development. ( Line Strip Square Surface )

The basic idea was to start from a bright work, as Loading Image 5 was, to decrement toward a palette of darker tones, an implosion toward black, in contrast from the ( Blacks Hunted ) another series of works that would follow later. The bright reds will be followed by browns, the yellows will resist along with the parchemin, the vivid luminosities will fade, the blacks will take over.. The composition of the forms will remain unchanged.

1. © Eduardo Rodà - Loading Image 5 - acrylic on canvas cm. 103x73 - 2012 - Private Coll.

2. © Eduardo Rodà - L.78 Special - acrylic on canvas cm. 41x30 - 2012 - Private Coll.

3. © Eduardo Rodà - C.38 Mammouth - acrylic on canvas cm. 41x30 - 2012 - Private Coll.

4. © Eduardo Rodà - Espaces de libertés restreintes - acrylic on canvas cm. 30x25 - 2012 - PrivateColl.

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1. © Eduardo Rodà - Loading Image 5 - acrylique sur toile cm. 103x73 - 2012 - Private Coll.

2. © Eduardo Rodà - L.78 Special - acrylique sur toile cm. 41x30 - 2012 - Collection Privée

3. © Eduardo Rodà - C.38 Mammouth - acrylique sur toile cm. 41x30 - 2012 - Collection Privée

4. © Eduardo Rodà - Espaces de libertés restreintes - acrylique sur toile cm. 30x25-2012 -Collection privée

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1. © Eduardo Rodà – Loading Image 5 – acrilico su tela cm. 103x73 – 2012 – Coll. Privata

2. © Eduardo Rodà – L.78 Special – acrilico su tela cm. 41x30 - 2012 - Coll. Privata

3. © Eduardo Rodà – C.38 Mammouth – acrilico su tela cm. 41x30 – 2012 - Coll. Privata

4. © Eduardo Rodà – Espaces de libertés restreintes – acrilico su tela cm. 30x25 – 2012 - Coll.Privata

Tuesday, 1 October 2024

You' re not that far away - mnemonic journey in the land of the Bruzi

YEAR XII 2024 NO. 73

Pentedattilo Foto Maria Teresa Bagnato

You're not that far away

Mnemonic journey in the land of the Bruzi

Loving mother you guided the first steps of childhood.

Mountains like open Silan arms, tentacles gliding to the Ionian and Tyrrhenian seas, Meduse and sweet new style of Versace.

Purple shorelines looking beyond, toward the Aeolian Islands, protected behind opulent backdrops.

Mental journeys poised between present and past, blue journeys and beyond the sea, still beyond Gilbiterra, projections into the future, into a new world.

Scents of jasmine, at dawn, bergamot in sunny afternoons and almond blossoms in abundant springs, bees stunned by heat and flights with senseless trajectories, honey of April and July.

Vineyards overflowing with rich, juicy grapes, musts roady and sticky, broom flowers, sandy rust, oregano, St. Martin's.

Green hills, shady chestnut groves, sheep pastures, whey and ricotta with baked bread.

Bright yellows, blue skies, light greens, seas weak in the morning,tides strong and flat at sunset, clear waters, still skies post, canvas of archaic landings, shores that have welcomed refugees forever.

Seas that conceal ancient histories, Warriors effigy'd, by the greatest of Masters: Phidias and by the hunted darks, those Bronzes of Riace. Ships that plied your shores, from navigable rivers, olive groves, oils for Greece.

Reflected cities touching in mid-sea, overlapping one another and projected in the great screen that is the sky, the Mirage from Fata Morgana, Reggio and Messina.

Lush Sibari plain, Locride plain, Capocolonna, Mediterranean archaeology and Grecanic areas.

The Philosopher, thinker with his gaze fixed on the void, meets Antonello da Messina and The Visit of the Three Angels to Abraham, at the Museum of Magna Graecia, with the Bronzes permanent guests of honor. Pythagoras of Reggio famous sculptor at Delphi.

Classes of the then Liceo Artistico.

Mimmo Rotella in Catanzaro and Mattia Preti the neo-Caravaggist in Taverna.

Five-fingered Pentedattilo, no monstrous hand, but concave rock that welcomed the crib of life, exalted by Escher's prints, which did not skimp on Tropea, in his rambling.

The Byzantine castle of St. Aniceto, refuge of peoples far from the coasts, discreetly overlooking the strait, from the Motta.

Daily tragedies, weeping, mourning, women mourners of the dead, black robes, long curly hair. Men, dressed in velvet, white collarless shirts, white woolen calandrels and socks.

Pavese in Brancaleone, Pasolini in Crotone, Pythagoras of Samos illustrious philosopher and mathematician in Krotone.

Traditions and living cultures, intertwining of life, modernity, values borrowed by young people thirsty for forbidden paths.

New cultures, contaminations, cyclical hopes, hopes in the changes of a betrayed present, forever.

Calabria.

Eduardo Rodà Eduardo Rodà was born in Montreal in 1954. From 1960 to 1980 he lived in Italy, between Calabria, Piedmont and Valle d'Aosta.

In Turin, he completed his studies at the Albertina Academy of Fine Arts.

In 1980 he decided to leave Italy and settled in Montreal.

To his 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.

His works are part of numerous private and public collections

Pentedattilo Foto Maria Teresa Bagnato

Non sei poi cosi lontana

viaggio mnemonico nella terra dei Bruzi

Madre affettuosa che guidasti i primi passi dell’infanzia.

Monti come braccia silane aperte, tentacoli che scivolano verso il mare Ionio e Tirreno, Meduse e dolce stil nuovo di Versace.

Litorali viola che guardano oltre, verso le Eolie, protetti alle spalle d’opulenti scenografie.

Viaggi mentali in bilico tra presente e passato, viaggi blu e oltre-mare, ancora oltre Gilbiterra, proiezioni nel futuro, in un nuovo mondo.

Profumi di gelsomino, agli albori, di bergamotto nei pomerriggi assolati e fiori di mandorla nelle primavere abbondanti, api stordite dal caldo e voli dalle traiettorie insensate, miele d’aprile e di luglio.

Vigneti stracolmi d’uva ricca e succosa, mosti stradolci e appiccicosi, fiori di ginestra, ruggiada sabbiosa, oregano, San Martino.

Colline Verdi, castagneti ombrosi, pascoli di pecore, sieri e ricotte col pane cotto.

Gialli luminosi, cieli azzurri, verdi chiari, mari deboli al mattino,maree forte e piatte al tramonto, acque limpide, cieli immobili postali, tela di fondo di sbarchi arcaici, coste che accolgono profughi da sempre.

Mari che celano storie antiche, Guerrieri effiggiati, dal massimo dei Maestri: Fidia e dagli scuri cacciati, quei Bronzi di Riace. Navi che percorsero le tue coste, dalle fiumare navigabili, oliveti, olii per la Grecia.

Città riflesse che si toccano a metà mare, sovrapposte una all’altra e proiettate nel grande schermo che è il cielo, il Miraggio da Fata Morgana, Reggio e Messina.

Piana della Sibari lussereggiante, piana della Locride, Capocolonna, archeologia mediterranea e aree grecaniche.

Il Filosofo, pensatore dallo sguardo fisso nel vuoto, incontra Antonello da Messina e La visita dei tre angeli ad Abramo, al museo della Magna Grecia, con i Bronzi ospiti d’onore permanenti. Pitagora di Reggio famoso scultore a Delfi.

Le classi dell’allora Liceo Artistico.

Mimmo Rotella a Catanzaro e Mattia Preti il neo-caravaggista a Taverna.

Pentedattilo dalle cinque dita, nò mano mostruosa, ma roccia concava che accolse il presepio della vita, esaltato dalle stampe di Escher, che non lesinò Tropea, nel suo divagare.

Il castello Bizantino di Sant’Aniceto, rifuggio di popolazioni lontano dalle coste, che domina discreto sullo stretto, dalla Motta.

Tragedie quotidiane, pianti, lutti, donne piangiatrici di morti, veste nere, capelli lunghi e ricci. Uomini, vestiti di velluto, camicie bianche senza collo, calandrelle e calze di lana bianche.

Pavese a Brancaleone, Pasolini a Crotone, Pitagora di Samo illustre filoso e matematico a Krotone.

Tradizioni e culture vive, intrecci di vita, modernità, valori in prestito da giovani assetati da percorsi proibiti.

Nuove culture, contaminazioni, speranze cicliche, speranze nei cambiamenti di un presente tradito, da sempre.

Calabria!

Eduardo Rodà

Thursday, 28 March 2024

From the small infinity of pixels to enlarged wafers

YEAR XII NO. 72

proscenio170@gmail.com

Eduardo Roda'

The content of my articles is not written and generated with AI

From the small infinity of pixels to enlarged wafers

FOR A CRITICAL VISION

In my paintings, I emphasize similarity and replica, through an appropriation and a reform even of my previous paintings. (Image- Model)

Simulations: in the execution of paintings, the texture of the colors is reminiscent of a screen grid (electronic mosaic) and the depth grain of the paintings is the pigmentation -pixel- of the screen-image.

They are manifested by a current approach, far from the purist and idealistic absolutist positions that were the art of the avangardes historical and moderinity.

Influenced by critical theory of Marshall McLuhan theorist Canadian media and global village.
Abstraction and geometric have emerged from my desire to search close to my feelings, an interior art where nature, social, science, beliefs are only references that feed my mind.

My artistic work evolves according to a critical exploration of seeing.

First in 1985, I work on the idea of a cinematic time, a time that is made of sequential segments, like representations of abstract films. Simple images by drawing that refer to an analysis on the ability to capture the content of images and information.

Frame by frame

Subsequently, the canvases become by association and similarity, monitors and its pixels, where it is possible to perceive the framing, the color field and the points of view similar to the displacements of a cinematographic camera.

The splitting of the image begins a little later; the square becomes an object in the painting and the painting becomes an object itself, rather than representing a set of refined abstract forms.
This way of looking at painting led me, towards the year 2000, to a new chapter, that of «Detail» - Pages-Details, moments of a common denominator equivalent to a stop on image of a long transmission. Details live a fragile balance in an image that exists and goes beyond the very force of these details to emerge into an independent work of art.

Adjusted Details will characterize my work later, and the close-up view highlights both the pixels and the wafers.

In the most recent works a multiplicity of details invite on the same canvas, to create increasingly complex images. Here the fragmentation of screen framing reached its apogee.

Abstract/geometric contemporary art

Abstract/geometric contemporary art finds in my work a topicality, content and themes, developed during my forty years of artistic practice.

I was able to look at and filter the historical and artistic experiences of Quebec and Canada, as well as my most recent past, by relating them to the European experiences of international movements at the beginning of the last century.

My painting is therefore of long breath, which has the courage to show itself, to assert itself and occupy a place of its own.

De l’infini petit du Pixel aux Wafers agrandis.

POUR UNE EXPLORATION CRITIQUE DU VOIR

Dans mes peintures, je mets l'accent sur la similarité et la réplique, à travers une appropriation et une réformulation même de mes peintures précédentes. (Image- Modèle)

Simulations: dans l'executions des peintures ou la texture des couleurs rappelle la grille d'un écran ( mosaique-electronique )

les grain de profondeurs des peintures est la pigmentation -pixel- de l'image-ecran

Ils se manifestent par une approche actuelle, loin des positions absolutistes puristes et idéalistes qui furent de l’art de l’avant-garde historiques et de la modérité.

Influencé par la théorie critique de Marshall McLuhan théorisation canadienne des médias et du village global.

L’abstraction et la géométrie ont émergé de ma volonté de recherche proche de mes sentiments, un art intérieur où la nature, le social, la science, les croyances ne sont que des références qui alimentent mon esprit.

Mon travail artistique évolue en fonction d’une exploration critique du voir.

Tout d’abord 1985 : je travaille sur l’idée d’un temps cinématique, un temps qui est fait de segments séquentiels, comme représentations de films abstraits. Images simples par le dessin se rapportant à une analyse sur la capacité de capturer le contenu des images et de l’information.

Cadrages

Ensuite, les toiles deviennent par association et ressemblance aux moniteurs et ses pixels, où il est possible de percevoir: cadrages, champ-couleur et points de vue similaires aux déplacements d’une caméra cinématographique.

Le dédoublement de l’image commence un peu plus tard; le carré devient objet dans la peinture et la peinture devient objet lui-même, plutôt que de représenter un ensemble de formes abstraites épurées.

Cette façon de regarder la peinture m’a conduit, vers l’an 2000, à un nouveau chapitre, celui du « Détail » - Pages-détails, moments d’un dénominateur commun équivalent à un arrêt sur image d’une longue transmission.

Les détails vivent un équilibre fragile dans une image qui existe et dépasse la force même de ces détails pour émerger dans une œuvre d’art indépendante.

Détails Ajustées, il caractérisera mon travail plus tard, et le vu de près, met en lumière les Pixels et les Wafers.

Dans les travaux plus récents, une multitude de détails cohabitent sur la même toile, pour créer des images de plus en plus complexes. Ici, la fragmentation du cadre de l’écran a atteint son apogee.

L’art abstrait/géométrique contemporain trouve dans mon travail une actualité, des contenus et des thématiques développés au cours de mes quarante ans de pratique artistique.

J’ai pu regarder et filtrer les expériences historiques et artistiques du Québec et du Canada, ainsi que mon passé le plus récent, en les rapportant aux expériences européennes des mouvements internationaux du début du siècle dernier.

Ma peinture est donc de long souffle, qui a le courage de se montrer, de

s'imposer et d'occuper une place qui lui est propre.

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