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Paolo Ceribelli

Paolo Ceribelli - Rossetti Arte Contemporanea

Paolo Ceribelli was born in 1978, he currently lives and works in Milan.

Self-taught artist, who began his artistic career experimenting with different painting techniques. Constantly searching for balance between aesthetics and concept, in 2006 the creative turning point of the Soldiers cycle determined what today has become his stylistic code: the collage of plastic toy soldiers. Through the use of colored soldiers and other small elements, obsessively aligned on the canvas creating geographic maps, circles, ranks and other installations of great plasticity, he restates the geo-historical presence of a constant and dominant thought of war, seeking to weaken its distressing presence with the fantastic transfiguration of the elements linked to the battle, such as soldiers and tanks wisely used as if they were strokes of color.
In 2016, with the urban installation Barricades, the artist lays the foundations for a new expressive cycle, investigating the concept of “limits” through the use of anti-tank barricades and color, introducing a new dialogue with the viewer.

Paolo Ceribelli exhibited his artworks in international museums and galleries including Museo della Permanente – Milan, Museum of the State Archives – Rome, Logitech Art Project – Los Angeles, Palazzo Te – Mantua, Italcementi Art Project-Bergamo, Apart Festival international d ‘art contemporain- Alpilles Provence, VIII Biennial of Soncino – Cremona, Lumar Foundation – Brussels.

“The turning point in my artistic career was in 2006, when I found the plastic toy soldiers, since I had been playing with them as a child I was immediately shocked by their intrinsic meaning.
Why do children play with an object that represents war? This was the first question I asked myself.
I tried to destroy the boundaries that exist between the form and its conceptual content with the idea of ​​ennobling the toy soldier, through its reuse.”
(Paolo Ceribelli)

“There is a gesture in the manipulation of the material – most of all, in the distribution of the toy soldiers on the canvas – to which the artist gives great importance, because in this
“in the making”, each structure carries a peculiar meaning and each spatiality embodies variations of values. Paolo’s artworks are plastic, three-dimensional and go beyond the classic frontal fruition in order to be experienced from multiple points of view, whether they are understood in the optical or conceptual sense; it is interesting the view from above as from birds’ eyes, it is fundamental for understanding the construction of Gestalt and their right proportion. In this case, I like to remind one of the laws of Gestalt (coincidentally, the law of common destiny) which states the tendency to perceive objects that move together as belonging to a single one, at the same time and in the same direction: the masses, taken as a whole, assume a single identity. The same identity which is given, in this case, to the moving armies concentrated on Paolo Ceribelli paintings, which vary, from work to work, in their distribution and density.”
(Cristina Trivellin)


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