curators corner: artist spotlight
Tomasso Silvestri
Silvestri art, designs and sculptures of morphic multimedia constructions are executed with great precision of layered iconic imagery.
I am renowned for my vision with highly technical skills, draftsman/drawing techniques and visionary precise dreamworlds. A complexity of provocative paintings and drawings involving a unique morphic style with great precision of layered iconic imagery and brilliant color palette.
His sculptures are 3D dimensional imagery of personas and cosmic deities, with a high visceral reality. In his journey to discover his own personal style he looked to other well-known artists for guidance and inspiration. One of his favorite artists Salvador Dali, provoked him to explore his interest in surrealism and experimental art while pushing the boundaries and limits of his own contemporary art style.
Born of Italian heritage and raised in Chicago, where at the age of 7 was a child of music and art inspired by his mother’s artistic nature and the colors and scents of her cooking in the kitchen. His life has revolved around the arts, performing and music, as far as he can remember, from drawing and designs to music performance, contemporary composition, and theatre to songwriting, however his real passion lies in contemporary drawing, sculpting and painting. His formal education in art, music and design, foundation and graphic design gave him his start and he has spent the past 20 years exploring and refining his personal style through his favorite medium of painting.
-What are the primary concepts and focus of your art and How do these ideas relate to your medium, and creative process itself?
My artistic repertoire is described as the ultimate artistic achievements in establishing myself as the self-proclaimed creator of a new art language, and predicting a new art movement will hence forth follow. THE PROCESSION OF THE TRIUMPHANT
TRIPHIPHANY
THE ANGELIC SONNET - THE INVENTION
OF THE POETIC PSYCHOMACHIA
From dreams, messages, sounds, and visions through my own scientific developments, I have been pioneering the modern world for over 20 years. New critical analytical theses, and philosophies along with my own personal rituals create artworks methodology. I am renowned for my vision with highly technical skills, draftsman/drawing techniques and visionary precise dreamworlds. A complexity of provocative paintings and drawings involving a unique morphic style.
How does the studio environment influence the way you work?
Time of day, light and syncrohicity of Planitary Alignment will have a big impact of my daily routine. Environment is for me the universally astral and causal planes of existences.
I am very meticulous on the preparations before to silently and perfect only place each instrument I will be using in today’s studio work (like a surgeons operating room for a surgeon), it depends on the daily and the project, so sometimes I might work on 3 projects in sequence and/or simultaneously so - it all beings with the environment of intention and attitude.
-Which artists are you inspired and influenced by?
Federico Fellini – the visionary film maker (a mystical genius)
Salvador Dali – the visionary artist (visionary painter an enigma of a human)
Which of your works stands out as a highlight, a favorite, or a significant point in your creative growth and development? and why?
Phase One of my early growth was significant in my early 1990-95 to find a way significant point in to experiment with a visionary work of art. At this early development stage of my images were underdeveloped by what I noticed was even though, I was young and inexperienced artist I had one thing no one else had.... I had a vision. Disturbances was a ground breaking artwork of vision, and way ahead of its time produced around 1990-95 over 40ft in length with a complex narrative.
Phase two of my MID growth was significant by this artwork tree pig flower another very Large-scale work was chosen to challenge myself to the new artistic heights of dreams and executions. This antihomophobic artwork is a masterpiece of human philosophy and a statement of the principles of humanity. Tree (Cosmic Man) (Position Left) Pig (Primal Man) (Position Center Flower (Man’s Beautification) (Position Right)
The “Triune” and the “Trinity” reign supreme in this masterpiece on anthropomorphic trixtravaganza with gold leaf lines separation of the elements for purification and organization of man’s thought process, meaning how man sees the world around himself is through his own imagination.
THE ANGELIC SONNET
THE ANGELIC SONNET As our story goes.... we are constantly in "conflict", in conflict with others, in conflict with yourself. A virtuous battle of life programmed we follow and engage living with our fallible decisions and determinations of the next future conflict. The painting architects the non-virtuous relationships we must engage thru modern social norms and personal battles.
What kind of atmosphere do you prefer when you work? Do you listen to music or podcasts, or do you prefer silence? Why?
“Silence is the language of God, all else is poor translation” - Rumi.
My art studio is an ASHRAM (sacred vehicle) I call it my “BUDDHA BOX,” Why? Because in sacred Buddhism a practitioner will renunciate and pray and mediate inside a box inside their shrine mind vehicle. So I use this metaphorically when referring to my “buddha box” (production studio) and my house is an “ASHRAM”, further defining my personal home/studio as a physical space where the silence is the rule and the inner peace is the law.
What memorable reactions have you had to your work?
During my FIRST SOLO SHOW I was taking notes and recording videos of viewers of my recently completed METABOLIAC NANOSCAN, and the FIRST PREMIERE of the mural DISTURBANCES (spanning of 30 ft on one entire wall of the gallery)
So, it was like watching a movie set when viewers would gather, walk, talk, point, make signs etc, throughout the evening against the backdrop of the mural created a fantasy lie movie in which the viewers were participating in the actual performance and the mural was the culture of identity.
With Nanos can, the reactions were so negative from the audience that I thought at the end of the exhibition that all the negative comments “nanos can” was receiving it only seemed logical to me that this was destined to be a great artwork. And now several years later this turns out to be a great artwork in the body of my work.
