THE MANIFEST OF ANIMIST
The work of Art is the path that is a thought, a feeling, an emotion, when choosing the form of dress which and through which occur.
Cloaked in words unspoken but only whispered covertly, in the game of the senses, the fruit of the mind, heart, creativity is detached from the hand, the brush, the chisel, the instruments that have shaped, to become a work of Art to start presenting its existence in the world.
The art is to share power.
Artist sucks sap of the entire experience, melancholy, memories and hopes, dreams and ideals. Those are always consistent, strong roots you never lose sight of even when the darkness of defeat human work, a disappointment, suffering caused by the void of certainty would seem to freeze every emotional drive, any creative spark. The work of Art becomes thus a means of delivering to tell, to detect a burst of energy for the artist who creates and who, admiring it, reads many meanings.
Art is thought to be shared and transformed into energy.
When your hands slip on the working surfaces, looking for smooth or rough body, peering through the fingertips and all that encompasses sensationally released at the same time, echoes that there is nothing around. The world disappears as the sounds, people, problems, anxiety and worry. I rest my material and that peace of laboratory transformed the intimacy of emotion into something concrete. In a thought that occurs and is born and then, regardless of who he wanted, sought, respected and asks anyone who sees it to be understood.
Poor areas, living areas. Wood, arms, aluminum, stone and more. Poverty is simplicity, poverty is innocence. Poverty is the human condition, fragile and consciously ephemeral in appearance and texture material but always courageous in abandoning totally looking introspective, the only leading to a painful but true greatness dell'impalpabile infinite certainty of no visible, without giving answers earthly consciousness, lasting for long periods.
I go from absolute vacuum "digging." A contradiction which apparently is not justified. An uphill struggle even drawn downward, seeking the light from the darkness even started. After several manipulations, where the painted surface has been cut, burned, protruded, the choice here, the turning point: dig.
The surface is immobile.Attende to be "revived".
Life as a face, filling, giving meaning to suffering, is anxious to be grasped in its authenticity, "digging" beyond appearances. It 's like a rape themselves, not to accept reality and know that everything evil, ruin his hands with a hammer and chisel, seeking something more, a stronger reminder, never content of superficiality, will become a new life.
A life sculpted, found, created a "form internal matter."
This form, which I call like a newsstand, is the inner temple. It as two holes, the human and the divine world, joined by a thin rope that symbolizes the union with the absolute. A rope gold or silver because this union is precious, royal, divine, rich in valuable resources, vital to humans.
With the rope I want to represent the sacrifice, work, meditation, prayer, anything that allows the contact, the union between man and the divine spark in every human being and giving, as fruits, serenity, peace , the Kingdom of God, whatever it is, that is within us.
I tell myself, experienced staff, through the work of art, a deep soul searching without any presumption in giving solutions to philosophical absolutes. The artist's work is rather an input to "dig in to a prison closer to important attitude of introspection where the truth is represented in and enjoy open heart in accepting what the soul and passions are asking us make in our lives. "
The Art is not no end in itself. The inner beauty, transformed into work is a work of art as creative exercise - manual, the metaphor of an art form even more impressive: that of giving meaning to life.
Carmine Tisbo
Note critical – Biography
Painter sculptor born in Pescara September 30, 1962.
Education: self taught
Periods: in 1998 leave from his work "safe" state employee to devote himself completely to art, first as an antiques dealer and later, in 2005, with makeshift materials, begins to paint. He was discovered by art critic Gianni Cerioli that does exhibit in 2007 at the Castello Estense in Ferrara, the theme of the exhibition: "The Four Elements." Following sets throughout the national territory (see notes):
Everything in his composition becomes a reflection on the matter. It serves to implement the project and to recall the deep sense of the many reasons that behind things lurk. The wisdom of the hand that gathers the material within the space of creation, it goes to a detailed study of trends in contemporary art, developing a research area due Arte Povera and Conceptual Art (Burri and Fontana):
In 2010, a period of deep reflection, leaving the "digging" the matter and here the choice, the turning point: Carmine Tissbo lays the foundation of his painful inner evolution, perceptions of the absolute. Publish "The Animist Manifesto." The artist is convinced that the value of an artwork should also measure the ability both to stimulate the desire to explore another part of our being (soul) or creating an encounter with the absolute, encounter is the true end of all human existence.
Techniques: in his work cycles used use of poor materials such as wood, sheet, crudely welded copper, rope, bags that suggest an idea of disintegration of matter.
Notes: 2007, Castle Estense, (Fe); Gallery Sekanina, (Fe);
2008, Institute of Higher Education “G.Galilei”, Adria (Ro);
2008, Sala Cordella, Town hall of Adria (Ro);
2008, Contemporary 08, National Review of Visual Arts, Rossano, (Cs);
2009, Former Palace Mount Mercy
2009, Trends in Modern International Exhibition, Art Gallery
2009, Review of Contemporary Art SaturARTE, (Ge).
Critics: Gianni Cerioli (Fe), Francesca Londino (Cs), Romano
Pelati (Mi).
Citations:
Encyclopedic Dictionary of International Modern and Contemporary Art - Publishing House Alba (Fe);
Ornaments: Contemporary Italian artists - Michelangelo Academy
