Pamono Tino Stefanoni, Casolari e cipressi I, 1990, Screenprint> Minimalist

color silkscreen printing
published edition
late 1990s
signed and numbered by the artist on the front
n./150 ex.

BIOGRAPHY

Tino Stefanoni (06/07/37 – 02/12/17), born in Lecco, studied at the Beato Angelico Art School and at the Faculty of Architecture of the Milan Polytechnic.

He has been present in the international art world for more than 50 years.

Tino Stefanoni’s work, while not strictly belonging to that of conceptual art, has in fact always developed in the same area of research. He has always looked at the world of everyday things and objects, proposing them in their most disarming obviousness, like plates of a visual primer or pages of an instruction booklet where images replace words.

Unlike the animal and plant worlds that do not pertain to man, the world of things is instead the only tangible sign of his existence, and therefore his property, a trace of his thought and history where art and beauty can be created that are not the art and beauty of nature.
Evident in the research is the interest in wanting to present things more than to represent them and, at the same time, to clothe them with subtle irony and magic drawn from an aseptic operation as in a lucid dream, to wit, that can make elementarity and mystery coexist, two elements that by their nature are not at all close but close by counterpoint.
Even in today’s paintings, where the canons of classical painting (in the strict sense of the term) are deliberately exaggerated in favor of a didactics of the pictorial (light chiaroscuro drawing color), the world of things is always revealed, which, while remaining the resolving moment of his work, is naturally charged with metaphysical meanings, the same meanings of the paintings with black and shaded strokes definable as synopies of the previous ones.

Enchanted Disenchantment – Painting as Object – The State of Facts – Objective Irony – Illusion Unveiled – Platonic Loves – Emoticons – Metaphysics of the Everyday- Irony Poetry and So Be It – Magical Conceptuality – The Enigma of the Obvious – Painting of the Mind, are some significant titles of texts written about his work. The mock enchantment, then, of his apparently classical painting, disguises the lyrical-conceptual moment of his work all strictly rational and, absurdly, , to the point of wanting to emphasize that painting is nothing but an object for the mind as the chair, table or bed are objects for the body.