False and inconsistent promises
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Le immagini sono accurate, e riflettono fedelmente l'originale, ma se l'opera che vi arriva dovesse discostarsi da quanto vi aspettavate potete restituirla, ed io vi restituirò l'importo. L’opera verrà spedita con un imballaggio accurato, per evitare ammaccature. Ogni opera sarà accompagnata da una scheda tecnica firmata dall'artista dove sarà specificata la tecnica e la tiratura; Le opere stampate a mano saranno contrassegnata da un timbro a secco dell'autrice. Dal momento dell'acquisto ho bisogno di circa una settimana per confezionare l'opera e spedirla, ma cercherò di fare anche prima. All'acquisto seguirà fattura elettronica, come per legge. Mi serviranno quindi il vostro nome, cognome, indirizzo e codice fiscale, nonché una mail a cui spedire la fattura di cortesia.
The images are accurate, and faithfully reflect the original, but if the work you receive deviates from what you expected, you can return it, and I will return the amount. The images are accurate, and faithfully reflect the original, but if the work that comes to you deviates from what you expected you can return it, and I will return the amount; the work will be shipped with careful packaging, to avoid dents. Each work will be accompanied by a technical sheet signed by the artist where the technique and print run will be specified; hand-printed works will be marked with a dry stamp from the author. From the moment of purchase I need about a week to package the work and ship it, but I will try to do it even sooner.The purchase will be followed by an electronic invoice, as per law. I will then need your name, surname, address and tax code, as well as an email to send the courtesy invoice to.
Often victim of too well-made speeches.
“Carta in gioco 3” Itinerari “in carta” in the contemporary art print. Museo d’Arte di Olevano Romano O.M.R. July 2015
To the theme of paper as a constructive element of the work of art, is dedicated the review of Charter in play, which in this third edition intends to investigate, through the work of 28 artists, the function of paper within a specific genre, that of engraving and contemporary art printing. For its specific qualities of manufacture, texture, brightness, paper has in fact accompanied the historical evolution of the engraved graphic, contributing to define the final effects and influencing those different interpretations that each printing phase, every test, every state somehow realize. To further deepen the theme, the invitation to artists to submit a work characterized by the exclusive use or the integration of techniques that, thanks to the pressure of the press, allow to produce a real modeling of paper, defining shapes and thicknesses that, like the sign, determine the composition of the work. Organized on the initiative of the Association “Amici del Museo di Olevano Romano”, with the collaboration of the engraving and art printing section of the “Labor Intus” of Rome, the exhibition can be visited at the Art Museum of Olevano from July 5 to September 13.
Francesca Tuscano
Artists: Bruno Aller, Rita Allescia, Paolo Assenza, Gianluigi Bellucci, Luigi Boille, Marina Bindella, Alessia Consiglio, A.Pio Del Brocco, Carmelo De Rubeis, Mimmo Di Laora, Susanna Doccioli, Marisa Facchinetti, Alessandro Fornaci, Leonardo Galliano, Valeria Gasparrini, Salvatore Giunta, Carlo Lorenzetti, Loredana Manciati, Giovanna Martinelli, Gianluca Murasecchi, Enzo Lionello Natilli, Franco Nuti, Laura Peres, Giovanni Reffo, Pasquale Santoro, Usama Saad, YunJung Seo, Paolo Sorgi.
The inclination to a narrative figuration also characterizes the work of Valeria Gasparrini, in which the technical experimentation (given by the simultaneity of different printing techniques, chalcography, typography and dry) joins the propensity for a clear and expressive figure, resulting from the rich training of the artist in the field of graphics. Gasparrini entrusts the discursiveness of the story to the flowing of the curves, to a sign that almost simulates forms and in which the artist transposes the dreamy character of her illustrations.
Text by Francesca Tuscano
“Carta in gioco 3” Itinerari “in carta” in the contemporary art print. Museo d’Arte di Olevano Romano O.M.R. July 2015
To the theme of paper as a constructive element of the work of art, is dedicated the review of Charter in play, which in this third edition intends to investigate, through the work of 28 artists, the function of paper within a specific genre, that of engraving and contemporary art printing. For its specific qualities of manufacture, texture, brightness, paper has in fact accompanied the historical evolution of the engraved graphic, contributing to define the final effects and influencing those different interpretations that each printing phase, every test, every state somehow realize. To further deepen the theme, the invitation to artists to submit a work characterized by the exclusive use or the integration of techniques that, thanks to the pressure of the press, allow to produce a real modeling of paper, defining shapes and thicknesses that, like the sign, determine the composition of the work. Organized on the initiative of the Association “Amici del Museo di Olevano Romano”, with the collaboration of the engraving and art printing section of the “Labor Intus” of Rome, the exhibition can be visited at the Art Museum of Olevano from July 5 to September 13.
Francesca Tuscano
Artists: Bruno Aller, Rita Allescia, Paolo Assenza, Gianluigi Bellucci, Luigi Boille, Marina Bindella, Alessia Consiglio, A.Pio Del Brocco, Carmelo De Rubeis, Mimmo Di Laora, Susanna Doccioli, Marisa Facchinetti, Alessandro Fornaci, Leonardo Galliano, Valeria Gasparrini, Salvatore Giunta, Carlo Lorenzetti, Loredana Manciati, Giovanna Martinelli, Gianluca Murasecchi, Enzo Lionello Natilli, Franco Nuti, Laura Peres, Giovanni Reffo, Pasquale Santoro, Usama Saad, YunJung Seo, Paolo Sorgi.
The inclination to a narrative figuration also characterizes the work of Valeria Gasparrini, in which the technical experimentation (given by the simultaneity of different printing techniques, chalcography, typography and dry) joins the propensity for a clear and expressive figure, resulting from the rich training of the artist in the field of graphics. Gasparrini entrusts the discursiveness of the story to the flowing of the curves, to a sign that almost simulates forms and in which the artist transposes the dreamy character of her illustrations.
Text by Francesca Tuscano