The contemporary nuraghe
(megalithic monuments contemporaries)
Digital art
Pasquale Petrucci
The research began with the analysis of a particular urban iconography, the so called cemeteries to carcasses of cars that are stacked and for pyramidal shape, I decide to compare them megalithic nuraghe art of prehistory. In the works emerge an original ability to capture the anxiety, discomfort the tension. The composition are distressing. A little light passes only through some spaces that have been inadvertently created between the cars. Car interiors jealously guarded, like a tomb, an infinity of: love, confession, abuse, betrayal, sex, oaths, agreements, deception, advice, regrets, desires, statements, insults, thoughts and adventures. Memories of a lifetime, registered on the seats, the dashboard or in the door that can not vanish. They have been joined to gether to create an energy that feeds this huge mountain of cars stocked, here are the“Contemporary Nuraghe”.
The digital manipulation distributed according to a variety of perspectives formalities the same subject (cars scrapped) hours following the balance vertical, now perpendicular to a horizontal line. The appearance of color spreads with combinations of reds and black, green and blue, gray and blue, rend and yellow, designed in the dosage of colors and tones. The search expression did not end, but continues. The final production has also created a new expressive language, in fact using the same iconographic elements(cars scrapped) designing more visual scenarios: seascapes, sunsets, urban solutions, compositions of objects that are currently in the planning stage.
REFLECTIONS FOR THE CONTEMPORARY NURAGHE
(megalithic monuments contemporaries)
DIGITAL ART
Petrucci Pasquale
" One of strangers feelings and deepest preistory has left us is the feeling of foreboding. That feeling will always exist. It's like an eternal proof of the meaninglessness of the universe. The first man was to see omens everywhere, hadto cringe at every step".
Giorgio De Chirico
The "Feeling of anticipation" inherent to the art of preihistory of Giorgio De Chirico is an exciting connection with my Contemporary Nuraghe, definition that I have given to thouse huge mountains carcasses of cars that usually
form in the demolition, not very far from population centers, therefore, included in an architectural and urban belonging to our reality.
The megalitic monuments preserve a centuries-old secret:theair actual functions. And the assumptions made for a hypothetical use-depending on the condition nuraghe me to think of these as the first metaphysical monuments of humanity. In particular, the building towards the sky leads us to do to understand a link between heave and earth- that is - the word of the living with the dead - alongside the existential conundrum has been placed at the base of the art of De Chirico and the first of all the metaphysics dopo. Also the concrete possibility to define the nuraghe "places of worship and burial", contributes greatly to the atmosphere inserted into a size typically metaphysics. A similar atmosphere spreads even in the demolitio, or betterdefine a term metaphysical " the graveyard of the car". In the scene, the real protagonist is the loneliness that winds amog the carcasses of old cars scrapped that until a few years ago roamed the streets of urban and suburban cities. The scene that presents itself is ghostly. The little light is scanned by a few space that was accidentally created in uniting cars scrapped.
