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Giorgio Chiesi was born in Felina, Emilian Apennines, near Reggio Emilia. The family moved to Milan, where he complete her studies. Until the early sixties out several activities and the work does not allow him to devote himself full time to painting, which is already manifested as his primary concern. Knows in the meantime, some artists and among them, in particular Enzo Ferroni and Gianfranco Vicentini, with their encouragement began to devote himself entirely to art. The search for his sign and his style and the accompanying study subjects to date. In 1970 He knows Joseph Migneco and regularly spend time in-depth study so his cultural interests with the world of art. Migneco submit it to Paul Marini, gallery in Florence in 1979 the first personal organizers, and presentation in the catalog Renzo Bertoni. In subsequent years, the link with Marini and Bertoni will be crucial to the continued operation of Chiesi, which held personal exhibitions in major Italian cities, supported and encouraged by many collectors. The artistic part of the master Giorgio Chiesi by the social realism of the ’60s where with Ferroni, Vespignani, Hats and Sauces already experimenting with new techniques being constantly looking for new designs. Continues in the ’70s with the study and discovery of Bacon and Giacometti, reworking and metabolizing this knowledge the teacher creates the first figure that screamed, preventing the despair of humanity, a world without a future but that was already overwhelmed by a fake well-being, material well-being and apparent. The scream continues even in the ’80s, no longer with distorted images of crying in pain but with the same force using the color, giving the figures in that tone gray of apparent death, not the body but of mind. The same that we are destroying and annihilating all. Moving on in the 90s at a painting with a kind of rebellion of things, painting in an absolute formal totemic objects, new civilizations to see a great painting and fun. Here then these big heads run in 2000 with gestures without afterthought, to empty their every thought and routed by various prohibitions and signs indicating the way forward. The subjects are then surrounded by cars, phones, lamps, ie everything that modern technology offers us, all executed by a childlike primitivism providing suggestions, tips and matter of thought for our future. The latest figures from the master Giorgio Chiesi are in fact the sign more free-paint not painting, sight, and cultured on city walls, in tunnels underground and railway stations, which then reworks from the depth of the artist I gestural expressionism without second thoughts.
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The gangly little men, grotesque, staring Giorgio Chiesi seems to come out of a fairy tale underground. Mocking boogieman of urban folklore, consumerism and media stir with his eyes bulging, like a puppet theater unconventional, which brings the scene stories of ordinary naivete.
With Giorgio Chiesi seems that art is for everyone, for the ease with which one can establish eye contact, the instinctive approach to his work permit. His is a process affabulatorio, which starting from a concept conceived playful fancy pictures, treated as if they were divertissement of the mind games expressive creativity mild.
The cultural influences of these paintings are certainly to be identified in the vein of writing, in that spontaneous graffiti or studied, widespread since the sixties, especially in subway and in marginal neighborhoods of American cities.
Giorgio Chiesi is clearly not a writer, either by character or for training. The genesis of his painting and matrices and cultured roots In the unsettling Expressionism Bacon, although he lacks in that dramatic atmosphere that characterizes the artist’s painting English. Other ancestry can be traced to Jean Dubuffet and Article brut, the lack of formalism and the air of anarchist works without intellectuals.
There is in the painting I ordered a strong emotional charge, which manifests itself in the prompt and a jaunty gesture, the figures are sketched drawings as if they were prepared but in the few reliable treatments have all their completeness. The artist does not care to describe in detail his stories, which can be enclosed in either single work or develop in cycles of work, are quite the characters and situations in their essentials evokes pleasure to the author, who likes to build human specks the absurd connotations. Huge heads on bodies improbable, feet and hands directly attached to the torso and head, with magnified details exaggeration typical of the cartoonist occupy a space with no horizon, where floating objects of everyday life, like many comic strips in freedom and fantastic animals populate the surfaces of fruits gigantic picture-cartoon sarcastically illustrate a world teetering.
With the imaginative eye Giorgio Chiesi freely getting in a few everyday objects and icons of our time, as shown for children, uses a language of poetry and entertainment, even when it alludes to some discomfort and insinuated a critical intellectual to the new myths of mass culture. He chooses the path of irony, the good-natured reminder of symbolism amused. His realism is – as psychologists say – intellectual and visual, as it reflects mental representations, drawing the details regardless of their true position and altering the proportions based on a real personal attribution of importance. It ‘a mechanism widely adopted by primitive and folk cultures, as can be seen in exaggerated anatomies Article Negro or moai of Easter Island giant heads made of sun, but also in papier-mache masks of southern folklore included, then in the floats of the many carnivals in the world. Daughter of Giorgio Chiesi painting pop art take a repertoire full of iconographic composite contamination, image comic repetition of symbolic objects, until the use of collage and whatever else may come from the contemporary visual universe.
The shapes drawn, erased, assembled returned to a liberating practice of painting, as it was for Basquiat, and the gallery of grotesque characters found aspects of contiguity with the irony of desecrating Enrico Baj.
Giorgio Chiesi does, in its way, a satire of manners, with its weird faces bespectacled el’indolente cigarette between his lips. Caustic language and the sign irrepressible make these images a lively visual diary, a withering parody of humanity today.
