CHRISTIAN ZANOTTO | UBERLULLABY |selfportrait | 2011 | Mixed digital medias photographically transferred on crystal |63 x78 cm
In his work “Uber Lullaby self Portrait”, Zanotto shows his hand.
He starts from his own computer-elaborated face, incorporating it to a female body. It's a metaphor of the asexual artist, androgynous man that feels like a god, because he is able to create worlds, images, escapes and artificial paradises.
This work reveals a higher self-consciousness, the artist reaches further away from representing castrating Amazon dolls; here he faces the universal theme of man, ego, and the D.N.A. of the conqueror, of the dominator.
We are all children of Cain; his portrait is a metaphor of power and of the evil that man creates. Within love hate sprouts, in love death hides, joy in pain, reason in emotion, there is no ugliness without beauty, and vice versa. In the harmony of opposites we can find questions, never solutions. Look at the baby with his livid complexion and the algid glance of the artist who holds him on his knees: his eyes (mirror of the soul) are as icy as Putin's and blood moustaches pour from his nose. Does the artist maybe wish to expiate the human aspiration to tyranny with this portrait? In doubt, we leave to our descendants the difficult judgement of guilt or presumed innocence.
Critical issue by Jacqueline Ceresoli
- Year Created: 2011
- Submitted to ArtBase: Saturday Apr 28th, 2012
- Original Url: http://www.christianzanotto.com/
- ChristianZanotto, Artist
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I’ve always been attracted by computers, actually I think I’ve owned all sorts of computers, from the oldest models on, but most of all I’ve always been fascinated by calculators, quartz watches, robots and lunar expeditions… I started including all this material in my creative process while I was attending the Academy in Venice and all this has become a means through which I could mix with my paintings, sculptures, photographs and my video making knowledge. The planning phase is exclusively mental: it’s mainly a visualization process which I then concretise and render in a 3D virtual space, working as if I was on a theatre stage (with postures, costumes and scenic objects); I’m always driven by curiosity towards the process of “evolution” and by that peculiar sensation of disorientation and astonishment provoked by the transformation of mental imagery into digital form. That same evolution process leads me to the analysis of the scene created and then to the reabsorption of it, by means of an inverse process.