ABOUT ME
ARMANDO TINNIRELLO
BEHIND THE LENS: Biography
Armando Tinnirello
Born in 1950 in Lentini (Syracuse) Italy.
live in Milano – Italy
EDUCATION: He Studied at the Italian State Institute of Art in Catania.
In 1973 Diploma "Applied Art" where he specialized in painting, photography and serigraphy.
In 1969 from the same institute: Diploma of "Master of Art".
In the 1983, moved to the Unites States, lived and worked in Sarasota – Florida.
1986 on commission, Created Enviromental Sculpture “Wall Fragment-Remains”, cement – plaster - acrilyc paint - neon light. Siesta Key, Sarasota – Florida. U.S.A. Private Collection.
1990 Moved to Milano-Italy were he live and work. 1995 Performer in the Video “Soft Driller” by Miltos Manetas. Photo by Armin Linke. 1998 Performer for: Abstract (from) mirrorsites ’98 by Miltos Manetas. Milano, Galleria Le Case d'Arte. Photo: Armin Linke.
He Expresses His art with painting and photography. In painting he is inspired by the philosophy of Heraclitus, the myth of the primordial fire. In photography he is inspired by nature, by the myth of metamorphosis and the shamanic quest, creating tribal masks.
Statement METAMORPHOSIS.
>From Ovid to Pantheism, mythical literature is saturated with human-to-nature metamorphosis. The fusion between man and nature enchants us, and transition into diverse realms fascinates us. In this humanization of nature that exalts nature’s volatility, the body becomes a well of inspiration for art. In the metamorphosis, the artist gathers interest for nature in her lights and shadows, and creative power in her contradictions. In creating an interlacing of the human body and nature, the artist hints at the ominous aspect of the metamorphosis and highlights the transformation of the woman into a plant-like creature. In my study, the identity of the female subject becomes canceled-out and with this the portraiture becomes an indistinct homogeny. The body becomes a surreal theatre for projections and the subject acquires a new identity.
Statement PAINTING.
The fire in my narrative is inspired by Etna, the "Mountain", the volcano that has always been present in my memory, in my native country, in my DNA. The myth of the fire of the volcano drove me experience (s) policy for those who are practically born under, living it. Primordial fire, the fire of the myth, the fire as a living element.
Lighting knowledge, pure energy. It is the engine of the regeneration of nature. I draw particular explosion that express with primary colors that evoke the silence and the origin, where it all begins and all ends.
The "inner fire" gives strength and energy to the visionary spirit of creation. Red is fire, blood, but also paint on the canvas, a new step in life. Each painting is a fragment, expression of thoughts, the result of different experiences.
“ VOLCANO SERIES” paintings of Armando Tinnirello, Swan & The Frog Art Gallery. Sarasota, Florida a cura di: George Haborak. Pelican Press - october 6, 1988 Sarasota - Florida. U.S.A.
In the paintings of Armando Tinnirello there is a gaping, searing absence of tonal subtlety and restraint-his “Volcano Series” of paintings expresses with intensity heated dark reds against black and rugged deep greens, tipped with trailing wisps of bright yellow or jets or piercing white. Initially these pictures appear to be completely abstract, but on closer examination you begin to discern the volcanic spewing from the artist’s expressionistic use of paint. There are works of lesser accomplishment but, “Mystery on Etna”, “Magma” and “Ignis” are resplendant examples of emotion painting that is basically abstraction. At their best they project a physicality and earthiness bright with broadly brushed and scraped primary colors that is eruptively poetic.
Thyrza Jacocks
THE REVELATION OF ABSENCE
By adding to deduct: a paradox, the negative of affirmation, just a play upon words, the boutade of an critic…as a rule, perhaps. But not when one talks about the painting, which superimposes stratum upon stratum of matter and colors, to veil, cover, hide from sight: remove exactly one presence of the one presence of the real world.By removing you project the virtual image in the Olympian world of possibility, the place of the never born, where the heroics are forgotten. The painting of the great abstractionists in the twenties, and those artists from post - W W II generation: like Licini and Klee, Burri and Gorky…
The same painting that spresads out and is powerful, but is retained on the small and large canvas of Tinnirello: who has international cultural training with physical presenze of several years of American
experience: while at the same time retaining deep Mediterranean roots: the myth of the Mediterranean, of bright colors that moulded the pagan divinity of the Greeks and Magna Greece: the red fire of
Hephaestus the black darkness of Persephone,the milky-white clouds of Zeus,the blinding flash of Apollo,
the dark shade of the great god Pan projected on the meridian hour...We need to be able to get lost inside
the color palette of Tinnirello to revisit the continuance and recurrent paradox of cancellation and
revelation, of violence and silence: this cataclysm upsets everything with its uncontrollable furry: breaking the balance, exploding, knocking down, destroying, thundering with noise inexpressible.
But attention is silence, never heard before, quiet, new equilibrium, the immediate result of its own fearful action.So the eruptive wave of the volcano, fire red, leaves at the back of itself the black solemn silence of lava… and on the black, with time, the white of the snow deposits itself and is reflected in the snow-flake brush strokes of clouds, accumulating around the top. And in midst of the clouds we see signs of wings: other strokes, other delicate matter and then to cover, to veil, perhaps to protect, the roar of the ancient powers…
Valerio Eletti, is an Art Critic and Professor at “LaSapienza” a
University in Rome, Italy
INTRODUZIONE PITTURA.
Il fuoco nella mia narrazione si ispira all’Etna, la “Montagna”, vulcano che è sempre stato presente nella mia memoria, nelle mie origini, nel mio DNA. Il mito del fuoco del Vulcano richiama l’esperienza mi(s)tica per chi ci è praticamente nato sotto, vivendola. Fuoco primordiale, il fuoco del mito, il fuoco come elemento vivo. Illuminazione della conoscenza, energia pura. Esso è il motore della rigenerazione della natura. Dall’esplosione traggo particolari che esprimo con colori primari che rievocano il silenzio e l’origine, dove tutto ha inizio e tutto ha fine. Il “fuoco interiore” dà forza ed energia allo spirito visionario della creazione. Il rosso è fuoco, è sangue, ma è anche colore sulla tela, un passo nella nuova vita. Ogni dipinto è un frammento, espressione di pensieri, risultato di diverse esperienze.
METAMORFOSI: uomo natura
Introduzione e tematica di Armando Tinnirello
Da Ovidio al Panismo la memoria mitica letteraria è impregnata della metamorfosi uomo-natura.
Da questo sconfinamento vegetale umano. Le diversità delle forme in natura hanno ispirato nei secoli artisti
e studiosi con infiniti dibattiti sulla bellezza e l’origine del mondo vegetale. Nell’immaginario troviamo un laboratorio ricco e affascinante di simboli vegetali ideali da esplorare per le metamorfosi dove il mito della trasformazione continua a dare emozioni.
La fusione tra uomo e natura ci incanta, e ci meraviglia il passaggio in regni diversi. In questa umanizzazione della natura che celebra la mutabilità, il corpo diventa fonte di ispirazione per l’arte.
Nella metamorfosi l’artista coglie l’interesse per la natura nella sua luce e ombra, nella forma vivificante e per il potere creativo nelle sue contraddizioni. Creando un intreccio tra corpo e natura, l’artista ci segnala l’aspetto sinistro della metamorfosi ma evidenziando la trasformazione della donna in creatura vegetale.
L’identità nel suo percorso d’affermazione prescinde dal percorso personale di ognuno di noi, la nostra è un’indagine unica, come unica è la vita.
Nella mia ricerca l’identità del soggetto viene annullata e con essa la rappresentazione che porta all’omologazione indistinta. Il corpo diventa teatro di proiezioni surreali e il soggetto acquista nuova identità con un corpo tatuato, un retaggio tribale. Un’indagine che si interroga sul rapporto natura, scienza e cultura, nella mia ricerca diventa un’estensione della tela. La mia risposta all’ingegneria Genetica fatta di trapianti e protesi,