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| Toodì Toodì | |
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Toodì’s birth date is july, the 2nd, 1952. Born in Alessandria, Egypt. He represents the 6th generation, perpetuating the continuity, plunging the roots into the holy land of the Pharaons. His forefathers originals from: italian, french, hungary, english, german and czechoslovak, determinated his cosmopolitan vision of living. The father, Master of arts, will exercise a big influence on the young Toodì, proposing him the art as an expressive element of the future human expression of behaviour and philosofy. At twenty years old he was tried the classical figurative arts. The results did not satisfy him, that began to explore the human behaviour across the physiognomyc study of the eye, who likes to call “radiography of the eye” . Atypical figure and antisociale, avoids the crowded exhibitions and the excessive contact with the commercial Arts world. around forty years old, he enriched by diversified interpersonal relationship, starting to give at the canvas a new unusual dimension, not worthing perspective, but representative of real volumes, composed by projected material over the pictorial plan. The natural, unavoidable evolution, determine Toodì to elaborate a personal meaning, something like an inevitable tendency to expansion of the Univers/planets/human beings. At that point in time, the simple material on the canvass, does’nt satisfy anymore Toodi, who wants to express a tangible and strong reality. He surpasses the humble dimension of material volume and gives the fabric a tridimensional identity who exploding, expands towards the host environment. At the same time of this innovative expression form who will be called “Expansionism”, Toodì crosses over the borders, the classic shapes and colours proposing thematic collections in monochromy, where the materia comes to be removed from the canvas to create the extreme conceptual images, theory for searching new lived disclosure modality. |
| 关于此艺术家 | |
Toodì moves his first steps in the artistical world when he is about twenty years old. The next period, he gets away for a long time from the arts world to get closer with the work environment. Experiencing a lot of sectors, he learns the knowledge and the technical expressions, completing, by this way, his own knowledge and applying new models of study. This will be used as technical and basic materials for the majority of the future works, obtaining the artistical manufactures that will distinguish him from the contemporary expressions. |
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PRIVACY X
2007 |
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| PRIVACY CYCLE. In this work, originator of the Privacy series, some mechanical-electronic elements have been mounted, that arouse the viewer’s curiosity to the point of touching the canvass. All this with the aim of demonstrating that every human being, besides being a victim of privacy infringement, can become himself the originator of its violation, due to a mere curiosity. |
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PRIVACY 1
2006 |
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| PRIVACY CYCLE. I still remind how difficult it was in the sixties, when privacy’s value was not particularly perceived, to satisfy one’s curiosity of knowing, for example, the age of a celebrity. Nowadays, that every citizen’s privacy should be strongly protected, the tax number we are asked to disclose for the most varied purposes, reveals clearly and to anybody our birth date. The same for technological progress that allows to intercept any communication system and thus let anyone read our electronic correspondence or transactions.
This mass of regulations that should safeguard our intimacy and the poor results achieved, led me to portray this chaotic scenario. Therefore, with the use of colours, shapes and an unusual technique, I intended to depict the confusion and the pressure that every individual constantly experiences despite himself. |
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BIRTH
2003 |
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| EXPANSIONISM CYCLE |
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WAR
2003 |
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| EXPANSIONISM CYCLE |
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MUTANT EAR # 4
2006 |
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| GMO CYCLE. OGM paintings highlight one of the most debated and controversial arguments of modern science which has caused a deep crisis in everyone’s ethic consciousness: the Genetically Modified Organisms of Animals, Vegetables and Human Beings.The choice of leaves and ears of wheat as preponderant subjects may be read as a provocative attitude towards the excessive control that men tend to inflict on nature and its fragile balance. |
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VIOLATED NATURE
2006 |
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| GMO CYCLE. "... For a long time, I have been treasuring the different scenarios that strike my eyes, thus reproducing them, without judging, in my unique works which become a bridge between the world and me: this is the way I try to reassert myself, respecting and acknowledging the absolute centrality of nature and beleiving that nature can “serve” men without being subjugated thus allowing harmony among human beings...” |
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THE CLONE
2006 |
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| CLONING CYCLE. "... I do not know whether my ideas about existence and my role in the world are exact or, at least, shareable. I can not even say if what happens around me is reasonable, evolutionary or wrong. My sole certainty is that frantic epochal changes - such as cloning, genetic modification of organisms, the various usages of nuclear energy – concern me and frighten me because of the massive unknown elements they imply... |
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GESTATION
2006 |
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| CLONING CYCLE. “… While I am painting I like to imagine that, just like me, everyone experiences moments of abstraction, instants of complete detachment from reality, fantasies in which mind transfigures truth..." |
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| 未来的展览 | |
| December 2007: Florence Biennale | |
| 网站: www.toodi.it | |
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