AUTHOR: RAFAEL ESPADA

TITLE:   PERSONALIZED AND SIGNED DISSIMILAR PHOTOCOPIES

TECHNIQUE: ON WOODEN BASE

FORMAT: 76X53X8

EXAMPLE: single piece 

CERTIFICATION: Authentication provided directly by the artist

 note well: colors may be slightly different from those displayed on your monitor.

THE WIKIARTE GALLERY  

IT HAS TWO GALLERIES IN THE HEART OF BOLOGNA

1) VIA SAN FELICE 18/A 

2) FALCONE BORSELLINO GALLERY 2/D


WHERE YOU CAN SEE THE WORKS FOR SALE BY MAKING AN APPOINTMENT

SALES DOCUMENTATION IS PROVIDED IN ACCORDANCE WITH THE LAW.

For payments via Paypal no added commission

Resellers interested in the works can contact us at the following email address 

 

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Biographical notes on the Artist

RAFAEL ESPADA

Probabilism at the comes: when atomism democritean encounter The Dadaism Of Rafael Espada

The purism formal That still today incites a attitude "apologetic" towards All that is That Yes can to define readable, lose credibility Thank you at the mystification from the matter tough, inseparable.Artists move from this assumption and, with different objectives, are united by the taste of to confess there own omniscience That resides in action previous at the realization itself of the artifact: the selection. The object becomes kerygma of evolutionary ideas and principles, testifying to the same practical and theoretical aims of the artist. In each semantic exercise they are weighed the artistic expression and the reaction aroused, concluding the dialectical process with criticism tied to the consent or The dissent of the success social.The obvious trial Of elevate Lego to proven connoisseur resides own in fury to to elaborate reflections behind to each Opera, impoverishing it the vibrations.Those Of Rafael Espada I am atoms, particles elementary in constant And spontaneous movement; there the collision of these leads to the deduction of a brilliant extemporaneous molecule of new concepts supersensitive.Rafael Espada was born in Buenos Aires in 1947, and moved to Milan in 1970, where he lives and works. Artist self-taught model after attending painting and sculpture courses at the Academy of Fine Arts in Brera. He has exhibited in various venues in Europe, North and South America and his works can be found in collections private in Italy, France, Belgium, Germany, Switzerland, Venezuela, Mexico, Brazil, Spain, Argentina, Ukraine, UK and United States of America.

AA.VV. 

The formal purism that still incites an 'apologetic' attitude towards anything that can be defined as readable loses credibility attraverso the mystification of hard, inseparable matter. This is the assumption that drives the artists who, while pursuing different goals, are united by a taste for confessing their own omniscience, which lies in the action preceding the creation of the artefact itself: selection. The object becomes a kerygma of ideas and evolutionary principles, bearing witness to the artist's own practical and theoretical aims. In each semantic exercise, the artistic expression and the reaction aroused are weighed, concluding the dialectical process with the criticism linked to consensus or the dissent of social success. The obvious proof of elevating the ego to a proven connoisseur lies precisely in the doggedness to elaborate reflections behind each work, depleting its vibrancy. Rafael Espada's creations are atoms, elementary particles in constant and spontaneous motion, the collision of which gives rise to a brilliant extemporaneous molecules of unprecedented supersensitive conceptsRafael Espada was born in Buenos Aires in 1947, and moved to Milan in 1970, where he lives and worksPlastic self-taught artist after attending courses of painting and sculpture at the Academy of Fine Arts of Brera in Milan. Heh has exhibited in several locations in Europe, North and South America and his artworks are in private collections in Italy, France, Belgium, Germany, Switzerland, Venezuela, Mexico, Brazil, Spain, Argentina, Ukraine, UK and the United States of America.

AA.VV.

  original ,    art,   picture

The formal purism that still incites an 'apologetic' attitude towards anything that can be defined as readable loses credibility attraverso the mystification of hard, inseparable matter. This is the assumption that drives the artists who, while pursuing different goals, are united by a taste for confessing their own omniscience, which lies in the action preceding the creation of the artefact itself: selection. The object becomes a kerygma of ideas and evolutionary principles, bearing witness to the artist's own practical and theoretical aims. In each semantic exercise, the artistic expression and the reaction aroused are weighed, concluding the dialectical process with the criticism linked to consensus or the dissent of social success. The obvious proof of elevating the ego to a proven con