Michele Petrelli contemporary italian artist,

was keening about painting from when he was very young and he graduated from the Art School in 1991. He says about himself:
“I am an encephalon in a glass vial. I am a visual-auditory-tactile artist. I don't despise the thought that wanders into the spirit of things.”. During the early part of his life he drew horrific figures that seemed to come from his emotional states. They were monochromatic drawings with a strong presence of black. This dark side of him is still present today and is collected in the gallery entitled "Shadowy".
From 2008, Petrelli lives happily with his partner away from the city. He has painted a lot in these years.

Petrelli's style

"First, I have to quote the words of the artist himself revealing what he is set on doing : " The message is to destroy the beauty of deceptive appearances. Penetrating the unfinished. Getting to the origin of all things ". In so doing, his exacerbated sensitivity will dissect his subjects , and, although obviously in love with Beauty, he will try not to succumb to it but give his new version of it...In the mean time, and whether intentional or not Beauty has become an underlying , endemic characteristic in his work.
We can feel some kind of latent clash between his brain and his instinct (something he himself proclaims). Effectively, you can easily perceive , while studying his work, that he just wished he could let himself go...Paint them just as they are. But then, his brain will not allow him this luxury. His private demon will make him dig up a new way to uncover, to search , to judge and then reveal his discovery. He will always add a very soft quality to his touches , making us more susceptible and more responding to his message.
All of his portraits bear a dreamlike aura, not forgetting though that nightmares are also dreams...The eyes being his main concern, he very successfully reaches, and depicts the innermost hidden, intricate meanders of the human mind."

Layla Ibrahim

Eclectic and visionary artist, Petrelli demonstrates an intuitive instinct for handling his pencil and paintbrush, and a palpable fascination with the human form and physiognomy. Some of his subjects often lose their contours, with details engulfed by colour and expressive brushstrokes.

"I was maybe five years old. My father, a professor of literature, showed me photographs of paintings in some Art History texts. Among them the ones that struck me the most were Botticelli's Venus and paintings inspired by Dante's Divine Comedy, specifically the scene set in Giudecca with Lucifer and the damned. The more I showed interest, the more my father showed me other beautiful pictures. In those years when the child's mind is fervent, all these paintings probably began to work within me. I gave myself this explanation, A few years later I started going to school. First grade. On the first day of school I drew Botticelli's Venus emerging from the waters, completely from memory. They said I had gotten the gift. But I know it was thanks to my father."

He painting impressions of the mind accurately imprinted and conserved on canvas. Drawing is a key element of his work and often dominates his compositions. The subjects of his later paintings are mysterious and disturbing characters, humorous transfigurations of common people, deities or monsters.
Petrelli observes matter in analytic way, but also trascending and abstract it with a personal taste, mere realism. The choice of sequences is permeated by the heart’s vibrations, more than the ones of the mind and contributes, together with tecnique and big size canvas of the artworks, to create an emotional explosion in the observer. The iconografic style is derived from a personal, “luminous” modern expressionism. The synthesis doesn’t simply affects the strong line of the palette knife, the fast brushwork, or the reduction to monocromy or bicromy. Petrelli makes unique mixed media artworks. They are a mixture of traditional techniques (acrylic, pastel, watercolor, oil, etc) or mixed techniques (photography, collage, digital painting, etc) or both. In the "De Insomniis" collection the subjects hover in the void, at other times they sink into marine abysses, or emerge from a web of shapes and lines that dissolve into the abstract. Infinite perspectives of powerful architecture or very fragile structures, which can be moved by a gust of wind, are the background of an intense oneiric scheme. Petrelli depicts the infinite impotence of the human being in front of the occult, the "non-manifest". The artist acquires the gift of a prophetic power, an intuition coming from the fall of all mental schemes. A means of revealing to the common man something happening in one of the three times (present, past or future). Sometimes the subjects look pure and free, sometimes ugly and gloomy. In this naturalness, without aesthetic schemes, the true state of mind of that person, in that precise instant, is revealed. The dynamism of the lines highlights this unstoppable succession of states in continuous evolution.

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