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The enigmatic presence of the absolute and unidentifiable icon is background to daily locations, sometimes dull representations of the real, as estranging elements or sacred forms with formal purity. The primary genre of a longed art, the symbol of a universal production bewilders and destabilizes if lived out of the usual contexts, leading to a systematic reflection through the overlapping of imaginary layers.
The initial effect is estrangement. The disturbing presence of the work of art, with its pure shape, in the unusual landscape, has the effect of a stranger organism yet stealing the gaze.
The cohabitation of popular and mass tradition, with a contemporary artistic culture, turns into artistic action, since the context is no longer outside the work but is with the work and part of it. Antonio Manfredi plays with himself becoming the object of his art, revealing his uncertainties, his doubts and most hidden thoughts.
He turns to the viewer of himself or to an abandoned wreck. Images overlap to memories or to erotic will through a fluid narration with a clear visual message. A path sometimes ironic and felt until objectivation of the body of the artist playing with himself and the advertising language. Therefore offers of the work of art come out with the cell phone number or quotations of big fashion or photography brands becoming personal provocations by Manfredi.
Si trasforma nello spettatore di se stesso o in un relitto abbandonato. Anyway the condition of simple puppets is turned upside down in the pictures of the lonely women suspended or desperate surrounded by dull locations strengthening their existential condition.
A journey through their complex world that, without any common sense, dissolves all reservations on corporal femininity. The organism is analyzed as object of beauty and statuary charm in an atmosphere deprived of any time-space identification while lost souls wander or hide in the real rooms of human misery. Quando Antonio Manfredi mostra le sue bambole le descrive come manichini inermi, in attesa di azioni esterne, addormentate in un limbo che le trasforma in contenitori bellissimi privi di anima.
Eppure la condizione di semplici burattini si ribalta nelle foto delle solitarie donne sospese e disperate circondate da ambientazioni squallide che ne rafforzano la condizione esistenziale. The god light lightens minds of those able to isolate into inner reflexion to look for himself. The overlapping of images refers to mind growth and to the development of cognition or stream of consciousness concreted in a blood-red flow.
Manfredi pictures are analyses of the unconscious, of the inner looking for a definition of his own. King men, hanging from a wall or just spectators o fan absolute art, the picture protagonists take over a unique valence, isolated though universal. La sovrapposizione di immagini allude alla crescita mentale e allo sviluppo della cognizione o del flusso di coscienza che si concretizza in un fiume rosso sangue. The images inquiry war and its consequences, the continuous situation of social instability and religiosity reigning on minds and conditioning souls.
Different worlds appear, all softly treated with an eye experienced to go beyond the standard definition of a folk or a race. West and East meet in wonderful dissonances.
Subjects are faces and real locations of life. Dullness and beauty insinuate into wrecked houses, in the fragments of gods abandoned to sacred streams and in the toothless smiles of populations in between ancient tradition and contemporary. I soggetti sono i volti e le ambientazioni reali di un vissuto. Prostitutes, rubbish and social madness: The desensitization of the common eye is shaken by the real representations of sufferance and wickedness that the lens of Manfredi ha caught in the Neapolitan metropolitan and peripheral streets.
Prostitute, spazzatura e follia sociale: