Manuele Cerutti

Cerutti’s oil paintings depict objects in a way that is more reminiscent of portraiture than still life. Humble, inconspicuous objects that belong to the artist, which were forgotten and then repurposed as a means for exploring a more universal set of values, become the sitters for these unlikely portraits.

About
the artist

Manuele Cerutti (b. 1976) is an Italian painter graduated from the Accademia Albertina di Belle Arti, Turin.

His works has featured in numerous institutional exhibitions, including at the Wilhelm Hack Museum and Stadtmuseum Oldenburg in Germany, the Italian Cultural Institute in London and the GAM in Torino. In 2004 he was awarded the Illy Present Future prize. He currently lives and works in Turin.

Manuele Cerutti's paintings are located at the intersection between the history of art, and the artist’s will of rediscovering the object’s essence, taking its pictorial representation as a springboard for further reflection. Stones, bones and scraps of metal, collected by the artist over the years, rest dormant in his studio, until the moment they turn from inert shapes into works of art on his canvases. Taken out of their original context, these ‘actors’ sit for the artist in compositions that are always on the border between balance and precariousness.

The artist adopts clean lines and a thin layer technique, in order to create a dialectic relationship between different moments of his narrative. He considers the error, the pentimento as integral to the accomplishment of an artwork. His paintings call to mind stratigraphy; where amongst different layers it is possible to discern evanescent presences in his paintings. Often, such presences are human subjects portrayed in the act of supporting, or contemplating the object – the real focus towards which the whole composition points.

In Cerutti’s oeuvre, even car mirrors are divested of all conventional attributes determined by their function, in order to experiment new unstable relationships with space. In the context of his works, roles are subverted: the human being does not emerge as a protagonist anymore, it is rather the object that reclaims its status as a peer to Man. The artist leads the viewer to modify their perception towards daily life elements, which too often pass unnoticed.

Although Manuele Cerutti's structures might seem comparable to the tradition of still-life painting, the difference between them is radical: the artist confers a subjectivity to forms that are traditionally inert, that are considered mere ob-jecta. Such subjectivity turns them into protagonists which should be interpreted on the same level as any other social actor.

Manuele Cerutti
on Artuner

Terzo Tentativo, 2015

Manuele Cerutti

Terzo Tentativo, 2015

Portrait, 2010

Manuele Cerutti

Portrait, 2010

Pensiero di Orfeo, 2012

Manuele Cerutti

Pensiero di Orfeo, 2012

L’Aperto Giorno, 2009

Manuele Cerutti

L’Aperto Giorno, 2009

Moles, 2012

Manuele Cerutti

Moles, 2012

Elusione, 2011

Manuele Cerutti

Elusione, 2011

Istruttoria, 2010

Manuele Cerutti

Istruttoria, 2010

Gradual (III), 2016

Manuele Cerutti

Gradual (III), 2016

Luce Intermedia, 2011

Manuele Cerutti

Luce Intermedia, 2011

Diade (XII), 2016

Manuele Cerutti

Diade (XII), 2016

Ritiri (I), 2016

Manuele Cerutti

Ritiri (I), 2016

Opposition II, 2016

Manuele Cerutti

Opposition II, 2016

Opposition I, 2016

Manuele Cerutti

Opposition I, 2016

Extension I, 2016

Manuele Cerutti

Extension I, 2016

Extension III, 2016

Manuele Cerutti

Extension III, 2016

Liturgies II, 2016

Manuele Cerutti

Liturgies II, 2016

Flexors I, 2016

Manuele Cerutti

Flexors I, 2016

Flexors III, 2016

Manuele Cerutti

Flexors III, 2016

Flexors II, 2016

Manuele Cerutti

Flexors II, 2016

Reaching, 2016

Manuele Cerutti

Reaching, 2016

Liturgies I, 2016

Manuele Cerutti

Liturgies I, 2016

Extension II, 2016

Manuele Cerutti

Extension II, 2016