work
touched women
| category | Illustration |
| subject | Human figure |
| tags | |
| base | 200 cm |
| height | 200 cm |
| depth | 50 cm |
| year | 2020 |
Everything always starts with the hand, the most active part of the body, the anatomical part that keeps the most ancestral traces of art. The hand listens, transforms the matter, follows the inner actions. Already in the rock age, man leaves the imprints of his hands ("La cueva de la manos", Argentina) the hand as a device of faith and judgment, invoking the Hand of God in despair. "The hand of Fatima" sign of the most atrocious pain received in love and not reciprocated by hurting oneself. Michelangelo's "Creation of Adam" for the Sistine Chapel, a dialogue between human and divine. The vision of the hands takes on the most mysterious and fascinating aspects in cultures, even merging as an emblem of chiaromancy in gypsy cultures. In the twentieth century the hand becomes more and more intense in its representations, as in Escher's “Le mani che draw” and in Le Corbousier's “La main ouverte” both render the shape of the hand plastic, sculptural, multi-faceted, geometric. Friedrich Schiller (quoted in a well-known painting by Klimt "Naked Veritas") states: "Art is the right hand of nature."
The hands are the dialectic and the personality of an artist, the confirmation of doing. Hands are directly connected to the creative characteristics of an artist. The instincts make the hand the pen capable of manifesting the sensory universes, it touches, it shifts our feeling towards thought and vice versa. Hands are the symbol of reciprocity, of giving, receiving, they are the link between feeling and understanding.
From these considerations of ours, innumerable works by C.M. Carollo in collaboration with Giusi Sanfilippo, dedicated to hands in combination with thought, as a symbol of infinite research between sensory perception and creation. Hands in the GoldCaos artistic vision can create a language that regenerates, making every possible artistic narrative free. In a subsequent and progressive analysis over the years GoldCaos begins to observe the concept of hand linked to the female in a society like ours. The language of gestures is more or less accentuated according to the cultures, but it should be noted that a middle finger, a pointing finger, the opening of one or both hands has become a universally recognizable language.
Already among the ancient Greeks, the gesture of the ancient Greeks the symbol of the middle finger was offensive, just as for the Romans it was the "digitus impudicus" linked to concepts of impurity of gestures. Tradition brought back by cinema, theater and art up to today's times with the sense of "fuck you". Just as pointing the finger becomes a blatant indictment. GoldCaos raises the following question in this regard: what is the limit between vulgarity and artistic sense?
It is more than clear that the margins are thin in this regard, that if on the one hand there are high cultural thoughts in art, communicative life and mass gestural languages cannot be excluded from visual art. Art is not only beauty, but also an expression of anger and rebellion against preconceptions, art is the unhinging of human parameters already formulated, to find ever new figures, forms and visual expressions.
Our idea of hands goes beyond the standardized visions over the centuries through the visual art connected to this anatomical part. If the hand has its own sacredness, if it is naked by nature, if it is a means of transforming thought by becoming molded matter, if the hand is a sensory perception that recalls the most ancestral languages, then the hand in its most intimate is also the hand of body self-identification, self-eroticism, and consequently masturbation. From studies of human evolution it emerges that exploratory contact of the genitals occurs already in utero and in the last months of pregnancy. The meaning of this exploration is obviously not aimed at pleasure, but from the purity of recognizing oneself as a body, a meaning that persists in adolescence. Adult masturbation, in particular, can maintain this aspect of purity, even if it leads to an outburst of anger, not identifying itself with a social pattern. The woman as an object is a recurring theme of today's media, the object of erotic fantasies as an end in themselves, alienating. Is the woman of the 2000s really emancipated? Or is it the object of other people's mental ruminations?
The woman remains the absolute muse in art from every point of view, but her role has changed, not making her less beautiful, but bringing her back to a less noble dimension, especially in the commercial and communication fields.
In summary: perhaps the woman is a prisoner of herself, chained, not accepting her carnality and her in a multi-faceted guise, but often closing her image in a single chosen role or one that is attributed to her.
"If women admitted masturbating, and men confessed their tears, perhaps the world would be a more self-conscious place." Giusi Sanfilippo
The “touched women”, women prisoners of their own communication, whether vulgar or not,… it is a choice that you observers will make, based on your cultural background.
Certainly art must provoke ... especially in the moments when the artist perceives the death of beauty.
Technique:
Hands: welding, bending, drawing, resin processing
Materials: brass, wood, pvc mannequins, velvet cloth, modified and welded chair, frame made by artists
The hands are the dialectic and the personality of an artist, the confirmation of doing. Hands are directly connected to the creative characteristics of an artist. The instincts make the hand the pen capable of manifesting the sensory universes, it touches, it shifts our feeling towards thought and vice versa. Hands are the symbol of reciprocity, of giving, receiving, they are the link between feeling and understanding.
From these considerations of ours, innumerable works by C.M. Carollo in collaboration with Giusi Sanfilippo, dedicated to hands in combination with thought, as a symbol of infinite research between sensory perception and creation. Hands in the GoldCaos artistic vision can create a language that regenerates, making every possible artistic narrative free. In a subsequent and progressive analysis over the years GoldCaos begins to observe the concept of hand linked to the female in a society like ours. The language of gestures is more or less accentuated according to the cultures, but it should be noted that a middle finger, a pointing finger, the opening of one or both hands has become a universally recognizable language.
Already among the ancient Greeks, the gesture of the ancient Greeks the symbol of the middle finger was offensive, just as for the Romans it was the "digitus impudicus" linked to concepts of impurity of gestures. Tradition brought back by cinema, theater and art up to today's times with the sense of "fuck you". Just as pointing the finger becomes a blatant indictment. GoldCaos raises the following question in this regard: what is the limit between vulgarity and artistic sense?
It is more than clear that the margins are thin in this regard, that if on the one hand there are high cultural thoughts in art, communicative life and mass gestural languages cannot be excluded from visual art. Art is not only beauty, but also an expression of anger and rebellion against preconceptions, art is the unhinging of human parameters already formulated, to find ever new figures, forms and visual expressions.
Our idea of hands goes beyond the standardized visions over the centuries through the visual art connected to this anatomical part. If the hand has its own sacredness, if it is naked by nature, if it is a means of transforming thought by becoming molded matter, if the hand is a sensory perception that recalls the most ancestral languages, then the hand in its most intimate is also the hand of body self-identification, self-eroticism, and consequently masturbation. From studies of human evolution it emerges that exploratory contact of the genitals occurs already in utero and in the last months of pregnancy. The meaning of this exploration is obviously not aimed at pleasure, but from the purity of recognizing oneself as a body, a meaning that persists in adolescence. Adult masturbation, in particular, can maintain this aspect of purity, even if it leads to an outburst of anger, not identifying itself with a social pattern. The woman as an object is a recurring theme of today's media, the object of erotic fantasies as an end in themselves, alienating. Is the woman of the 2000s really emancipated? Or is it the object of other people's mental ruminations?
The woman remains the absolute muse in art from every point of view, but her role has changed, not making her less beautiful, but bringing her back to a less noble dimension, especially in the commercial and communication fields.
In summary: perhaps the woman is a prisoner of herself, chained, not accepting her carnality and her in a multi-faceted guise, but often closing her image in a single chosen role or one that is attributed to her.
"If women admitted masturbating, and men confessed their tears, perhaps the world would be a more self-conscious place." Giusi Sanfilippo
The “touched women”, women prisoners of their own communication, whether vulgar or not,… it is a choice that you observers will make, based on your cultural background.
Certainly art must provoke ... especially in the moments when the artist perceives the death of beauty.
Technique:
Hands: welding, bending, drawing, resin processing
Materials: brass, wood, pvc mannequins, velvet cloth, modified and welded chair, frame made by artists
