Is an artist educated
in painting at the Academy of Art in Florence and at the University
of Minnesota. Eventually he moved to sculpture, a medium more congenial
to his temperament.
He works in both Italy and in his New York studio. The work is generally
made with metal objects, found in the streets of Manhattan, such
as file cabinets, oil drums, shelves, and cans, to which the sculptor
refers to as "the local stone." These objects are then
cut with an axe and recycled into works of art that retain the dirt,
smells, and other signs of human use and contamination.
The studio at first sight seems a world devastated and in ruins,
a world with no traces left of Paolo Pelosini's native Tuscany,
however, after the initial impression, one begins to see in the
wreckage, complex and formally sophisticated images, fruits of a
classical education. The sculptures, aggressive and forbidding,
due to the sharpness of the metal, are a journey through art. Art
in its totality is at the disposal of the artist. The dichotomy
between figurative and abstract has been overcome and many styles
coexist. A Venus in a classical pose, a disembowelled drum with
modern tendencies, a furiously primitive embrace, cohabit the same
space, integrated by formal cohesiveness.
The sculptor begins a project without a precise idea in mind. He
slices metal with a large axe, creating sharp and tormented edges.
This process, with its intense physical action, transposes the artist's
emotions from the subconscious to the art object. The finished works
are highly expressive and loaded with personal meaning. Art derives
its power from its ability to impress itself on the psyche of the
individual. The work of Paolo Pelosini is memorable for its unique
intensity and strange beauty (Written by Pier Luigi Bianchi).
transVoyeur and the Artist
From the process of brutally dissecting the metal to reconstitute
into a form of cultural expression and aesthetic relevance, the
action in this creative process although one of brutality is also
one of passion. This spatial and temporal encounter between the
material and the conception of the art is comparable to the extremes
fluctuations which perpetuated human existences and civilisations.
The duality of the severity of the human condition is also in the
nature of the resources, discarded metals to be reclaimed, readdressed
and reformed, as is humanity. This journey of the material and human
experience is one relevant analogous to transVoyeur, as it touches
on the fundamentals of the human drives, artefacts of our industrial
world and commodification to be transformed to one an ethereal substance.