ANGELS 3.0 by lorenzoArs


For lorenzoArs, the sacredness of the subject is dressed in actuality, often violent scenes and intensity of color. In its work, the color replaces the sign, through a technique of brush or spatula made of bright colors and dense, full-bodied and bright with layers of matter that emphasize the themes. Free patterns and conventions, Angels 3.0 is a reflection on the contemporary heroes, full of autobiographical references and in our recent history. The energy that takes the viewer to approach it is as dramatic as vital, the series is thus the personification of our mistakes but also our strength


The Angel, since the Middle Ages, was the subject of a lot of artistic reinterpretations, linked to multiple and different iconographies. In addition to the Arts, Philosophy overall and Theology specifically, but also Poetry and Literature were concerned to define his nature, affecting consequently on our imagination. From Beato Angelico to Botticelli, from Perugino to Canova, artists have always offered us pictures - so diversified but still instantly recognizable - of celestial hierarchies, in most cases to meet the needs of the art patrons who wanted Angels immediately recognizable by the believers.

Their beauty is undisputed, it literally wraps around all the viewers, even atheists, as it happens, for example, looking at the angels painted by Raffaello or sculpted by Bernini, at the draperies of their clothes and at their ethereal appearance.

lorenzoArs, with the series Angels 3.0, performs a conceptual displacement from an historicised iconography towards the creation of a new original one. His Angels are indeed immersed in the flow of the contemporary life and its contradictions

Without losing their substance of light and their eternal beauty, Angels 3.0 "get dirty" and clash with real people, so much so that we wonder if they are still higher beings.

lorenzoArs portrays them in trouble, in some artworks he sets them in defined events of our recent history, makes them vulnerable.

The draperies of their clothes give way to jeans and sensual poses.

Women-angel by lorenzoArs are often haughty,even though they are portrayed in very dramatic social realities.

Likewise, the angels-priests are replaced by the fallen angels in our world and in our life, and they do not hide the effort to repair the mistakes and the horrors caused by men.

The bottom line is a criticism of humanity, conveyed by the artist through the eyes of his fallen heroes.

However, his Angels are in trouble, but never inconclusive or submissive.

The weakness is not a characteristic that lorenzoArs gives them.

The second, but parallel line of research, is that concerning the field of communication 3.0. We find angels in the city at night, for example, connected to the network. There is strong contrast - only seemingly contradictory - between social exclusion and connection, which runs right through the web, symbol of too many virtual contacts and too few human ones. The result is a deep feeling of loneliness and an important reflection on the relations between individuals.

A third expressive language puts the angels into abstraction and overwhelms the viewer through the bright colors, these are the works in which lorenzoArs finds a dialogue with a spirituality that is not necessarily linked to religion, but it is expressed through the impetus of the characters and the immediacy of the painting practice.

The creative effort of lorenzoArs is therefore to say something through his characters, while hiding their appearance.

The relevance of the subjects is emphasized by a conscious and incisive painting technique.

The energy that takes the viewer is so dramatic as full of life. For these reasons Lorenzoars explores the personification of our mistakes but also of our strength.

He therefore, by Angel 3.0, has the merit to stimulate a debate about our models, through a complex artistic and conceptual action, free from rules and dogmas.


lorenzoArs, creativo poliedrico di origini abruzzesi, si laurea all’Accademia di Belle Arti di Bologna discutendo una tesi sulla propria poetica artistica con il Prof. Walter Guadagnini e, dopo varie esperienze lavorative nel mondo dell'arte e della creatività nei suoi luoghi e in diverse città italiane, si trasferisce definitivamente a Firenze. La sua produzione artistica spazia dalla scultura alla video art. La continua ricerca poetica si avvale di esperienze di ogni tipo, nelle tecniche e nei materiali, dalla calcografia alla scultura, dal trompe l’oeil al restauro pittorico. Dal 1987 espone in numerose mostre in tutto il mondo, raccogliendo consensi per la sua poetica innovativa. Nel 1996 inizia il percorso lavorativo nel visual design e nel 1999 acquisisce la certificazione Adobe ACE e poi ACI e per un breve periodo entra a far parte degli Adobe Guru lavorando a stretto contatto con aziende di advertising come Adobe Evangelist.

Nel frattempo si impone con la sua agenzia di comunicazione come Art Director nel panorama della visual communication europea, lavorando con le eccellenze del made in italy e non solo, fino al 2010. Parallelamente, prosegue e arricchisce la propria ricerca artistica con l'uso delle nuove tecnologie, facendo dialogare le arti visive tradizionali con il digitale e la computer grafica e approfondendo la sperimentazione intrapresa nei linguaggi audiovisivi e nella fotografia.

Nel 2015 il suo progetto di fotografia sperimentale "LUX INFORMAE" è selezionato dall'UNESCO come evento ufficiale dell'Anno Internazionale dell'Energia Luminosa http://www.light2015.org/Home/Event-Programme/2015/Exhibition/Italy-LUX-INFORMAE.html e si traduce in una grande mostra personale a Firenze, ospitata al Museo Casa di Dante (catalogo curato da Franco Torriani e Laura Capuozzo). La stessa mostra, nel 2016, viene pubblicata in "LightArt in Italy" di Gisella Gellini per il Politecnico di Milano. Il volume, presentato in una Conferenza-evento al Museo del Novecento di Milano, mette in luce le esperienze più significative nell'ambito della ricerca artistica su tale tematica.

La sperimentazione fotografica si accompagna e si contamina con il linguaggio pittorico e plastico. Di rilievo la serie ANGELS 3.0 che mette in luce contesti attuali in grado però di rimandare e far riflettere su sistemi di valori ontologici ed etici.

Vanta la direzione creativa di molteplici pubblicazioni editoriali, tra cui spicca 22secondi edito da Ed'A e la realizzazione della copertina e delle tavole anatomiche in Preparazione Atletica e Riabilitazione Edizioni C.G. Edizioni Medico Scientifiche - Torino.

Oggi è docente MIUR di fotografia e visual design

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