Original artwork description 4th painting of the series the zoo boys in the chaos of progress Oil on canvas cm 50*50 Look into my eyes What do you see? So many ostriches running on the feet I'm in a desolate clearing That before us was inhabited A building appears gutted Progress and carelessness have treated it Now no one wants to live there anymore I'd like to see you if you could live there! Indifference as in her gaze She has removed all regard from the world Now I continue on my path I'm alone with no one near me.... This new series is dedicated to kids, to today's youth and to their psyche. Despite everything, they take care of their appearance and they do it in a very personal way. I painted them in a dreamlike and fantasy context, as if it were a projection of their thinking and their emotions. The kids at the zoo because the world has fewer and fewer rules, more and more individualistic, this is also due to the advance of progress, which allows us to do most things alone, and therefore tends to isolate us. Everyone seems to grow with themselves and the virtual world, while out there it becomes more and more chaos: the climate, environmental and social problem increases, without anyone making a breakthrough to stop all this. And then strange, gloomy environments are created, drained if we want from their innate vitality. We see very beautiful houses, but abandoned, with uncultivated vegetation that envelops deserted streets, and men with masks that hide their identity. The spaces are filled with strange sounds, and nuns and priests pray for a miracle, while the world seems not to listen. All this fascinates and frightens at the same time, creating a surreal atmosphere that is reflected in the works of art. is product is painted on a cut canvas measuring 60x60 cm in total and ready to be stretched on a frame. It can be sold either without a frame and have cheaper shipping costs (contact me for information)

Laura Muolo

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Oil painting on canvas is my favorite technique, sometimes replaced by pastel on cardboard, but the line is always the same, the style is realistic. I choose these two techniques because the first lends itself to the composition of the painting, as starting from an initial idea, it allows me to change the image from time to time, it is therefore a reflective technique that slowly leads me to the final result. It allows me to arrive at the perfection of the figures, if I want, by deciding the number of passes I want to give. The second technique helps me to immediately understand and see the subject that will be depicted, as the pastel gives almost immediate results, without having to subsequently go over the already painted areas. My genre is a surrealistic figurative that tries to tell hidden stories and emotions. The story takes place either in dreamlike, evocative and surreal landscape contexts or in simple contexts, depicting individuals with their shadows. When I paint subjects in landscapes I carry out an introspective search for memories: the young subject is the protagonist. This occupies the main part of a scenography created with an old house, sometimes in ruins (signifying a time that has now passed), uncultivated vegetation, enriched with symbolic objects and animals that had a particular meaning in that story. I try to project the viewer into a subconscious dimension, into his memory, creating a surreal environment. Instead, painting characters with their shadows allows me to go beyond appearance, beyond the first glance. We see the protagonist in a certain pose, always thoughtful in his gaze, with a shadow behind him that seems like his physical shadow, but which instead projects something else, his feelings, his personal essence, which at first sight cannot be immediately perceived. , but which can be understood by going deeper, getting to know the person, their experiences and their desires, fears, expectations. The creation of the works always takes place starting from photos of young subjects, I choose a context and symbols, depending on the story I want to tell and then painted in a single scene. The painting sessions are different: I try to give at least three passes to all the elements of the painting, sometimes, if I don't find satisfaction, I find myself going over the protagonist subject up to 5 times, which must tell and therefore needs to be as credible as possible.