Manuele Cerutti

Affermazioni (IV), 2012

Oil on Linen

60 × 44.5 cm


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Artwork
Description

Manuele Cerutti is not just a painter: he’s an observer, almost a philosopher, and the paint is his medium of exploration. Through his practice, Cerutti stages and observes the delicate balance of his subjects and their relationship with space. In his paintings, inert matter comes to life and becomes an actor – as Cerutti tries to carve out its essence.

If in his still life paintings Cerutti elevates the ordinary object to actor; conversely, in Affermazioni (VI), Affirmations (IV), the person depicted is almost dehumanised as they pose mimicking the shape of a tree, and their shadow elongates on the wall. The model appears almost hidden in their dark green coat, almost af if avoiding direct eye contact with the artist and thus the viewer. Even though the painting stands out within his mostly non-anthropocentric œvre, Cerutti, even while painting a human being, manages to not keep them as the protagonist of the composition, elevating them to the ambiguous limbo where being and not-being blend into one another.

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.


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.


Manuele Cerutti
on Artuner

Part of the
exhibition

May 3rd, 2018 until
May 31st, 2018
Curated by ARTUNER