Saturno Buttò, born in Venice in 1957, started his exhibition career in 1993, when he published his first monograph titled “portrayed from Saturn: 1989-1992”. Since then he’s exhibited in Italy, Europe and US (New York, Los Angeles, San Francisco).
In addition to two other monographs “Works 1993-1999″ and “Martyrologium” (2007), the Mondo Bizzarro Gallery in Rome at the recent exhibition has published his latest catalog in chronological order: “Blood is my favorite color” (2012).
Saturno Buttò’s artwork is characterized by a personal, formal interpretation of European sacred art and technical skill, that reminds one of the great masters of our pictorial tradition.
Figurative rituals, tableaux vivants, neo-Gothic altar pieces are the skillful creations with which Butto extracts the fascinating mysteries of an “obscure, dark religion. This concept is brilliantly illustrated by the juxtaposition between the body’s innate sensuality and its deeper spirituality. Through illustrating the conflict between eroticism and pain, transgression and rapture, Buttò’s valuable paintings on wood examine in depth the strict and conflicting vision of Western religious iconography by comparisons with the body. The body is, on one side exhibited like an object of cult, while simultaneously being denied its value of nascent erotic beauty. It’s a fascinating tension that above all exalts the human figure, to the centre of the exhibition.
The human figure, which in Buttò’s poem, is constantly represented as sacred, is depicted in its physical and psychological decadence. It is sometimes illustrated by instruments and/or medical tools, that represent human pain on one hand while simultaneously highlighting the will to defeat death in a Utopian way. It also manages to vividly depicts the inescapable condition of physical decline, more accurately than ever.
This way, a beautiful girl’s parade consecrate from a golden halo, as the Byzantine icons, shine from a lively and sensual physicalness, but are hidden from a mysterious demoniac fascination, as if they were wedded in purity to destruction and decay.
This painting depicts the limitations society places on women, corrupting what truly is beautiful by placing them in these prisons of identity. By doing so, society is asking them to become superheroes. The work is an offset of American comics, synonymous to entertainment and fun. This is exactly the goal of the series - a daily struggle against that which is imposed by society and the very expectations we impose on ourselves I keep myself busy in many ways; single mom, business woman, artist, the household, romance, errands. It puts a lot on one’s shoulders. We overwork ourselves. We are all slaves to something or of something. And in comic books, despite all the playfulness of the thing itself and all the “POW BING BAM,” superheroes are also fragile. We are merely human men and women and we are entitled to the flaws and errors. Lets be proud of who we are, be fierce and strong.
Sandra Chevrier, who calls herself a “gaze collector,” creates hyperrealistic paintings of women that stare out towards the viewer. Reinterpreting the superhero mask, Chevrier covers these images with a collage of comic book prints, using scenes from Superman and Batman to conceal the faces of these idealized women. Chevrier selects sections of comic books that portray “fragile heroes,” promoting the idea that vulnerability often underlies heroism. Titled “Cages,” these mixed-media works encourage viewers to consider how the modern woman—like these superheroes—might also be surrounded by expectations of effortless perfection.
Jennybird Alcantara's minutely detailed oil paintings possess un-borrowed symbolism, drawing the viewer deeply into a world both strange and beautiful. Dreamlike narratives form the core her paintings where the complex interconnectedness of opposites appear through the prism of myth, fable and fantasy. Jennybird uses the symbolism of duality to explore the connection of life and death and the veil in between.
Born a minister's son in 1977 in Seoul Korea, Young Chun remembers as a child, living in a small attachment to a hillside church for a brief time. The weekdays spent running around with imaginary friends in the dim empty chapel has fueled his imagination, contributing to his artistic growth. The "chapel" has become a permanent fixture in his creative mind - where he constructs, develops, and stores works in progress, before they ever meet a sketchpad. In 2000, Young received his B.F.A, from the Art Center College of Design, in Pasadena California. After several years of painting without clear direction, he stumbled into the opposite end of the spectrum - into the healthcare field - to search for "substance" and "something deeper in life". The years spent working as a respiratory therapist, helping people who were faced with life and death situations, has expanded his outlook in life; adding to his artistic vision. In February of 2011, Young resumed working as a full time artist. He currently lives and works in Orange County, California.