{"id":467,"date":"2024-11-07T14:44:34","date_gmt":"2024-11-07T14:44:34","guid":{"rendered":"https:\/\/aureliogaiga.it\/opere\/"},"modified":"2025-03-21T08:26:07","modified_gmt":"2025-03-21T08:26:07","slug":"works","status":"publish","type":"page","link":"https:\/\/www.aureliogaiga.it\/en\/works\/","title":{"rendered":"Works"},"content":{"rendered":"\n
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Selection<\/h1>\n<\/div>\n<\/div><\/div><\/section>\n\n\n\n
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Senza Titolo <\/em>(Untitled)<\/strong>, 2024, oil sticks and oil on canvas, 80 x 100 cm

This work, created with oil sticks and traditional oil painting, evokes satellite images that reference climatic turbulence and the numerous international crises currently impacting our planet. However, this view is interrupted by a strip of blue, whose nature remains ambiguous but could suggest an attempt to disrupt such a condition. The strip could even represent the construction of walls to prevent the movement of migrants from one state to another.
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Interferenze 59 <\/em><\/strong>(Interference 59), 2022, oil on canvas, 80 x 100 cm<\/p>\n\n\n\n


The lines in this piece evoke the mechanics of computer gears and the structure of urban maps, creating a sense of suspended time. The interferences may also allude to the gamification of contemporary life. The complex imagery resists a singular interpretation, and upon closer inspection, certain shapes resemble military weaponry, suggesting themes of spatial control. 
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Interferenze 44<\/em><\/strong> (Interference 44), 2021, oil on canvas, 70 x 100 cm
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The intricate weave of signs evokes an urban map, whose complexity, typical of large metropolises, conjures a contemporary labyrinth where time and space intertwine without distinction, making it impossible to discern a direction or an exit. The jagged shapes that overlap seem to allude to a labyrinth commonly found in the graphics of many video games.<\/p>\n<\/div>\n<\/div><\/div><\/section>\n\n\n\n

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Senza Titolo <\/em>(Untitled)<\/strong>, 2024, oil sticks and oil on canvas, 80 x 100 cm<\/p>\n\n\n\n


This work combines oil sticks with traditional oil painting to evoke interference effects reminiscent of satellite imagery, reflecting climatic turbulence and global upheavals across social, economic, and political spheres. The artist\u2019s seemingly spontaneous and imperfect brushstrokes are layered with schematic elements, creating a striking contrast between human and technological influences.<\/p>\n<\/div>\n<\/div><\/div><\/section>\n\n\n\n

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Interferenze 63<\/em> <\/strong>(Interference 63), 2023, oil on canvas, 70 x 100 cm<\/p>\n\n\n\n


Shades of blue and light blue dominate evoke satellite images viewed from space. This perspective can be associated with a vision of technological and military control, similar to the one exercised by those in power, imposing dominance over the masses. Upon closer inspection, some shapes indeed resemble the typical form of weapons. <\/p>\n<\/div>\n<\/div><\/div><\/section>\n\n\n\n

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Interferenze 66 <\/em><\/strong>(Interference 66), 2023, oil on canvas, 100 x 70 cm

While remaining separate, the lines of this painting seem to want to collide and merge, like castaways drifting aimlessly in the ocean. This separation evokes the loneliness that often defines the lives of many people, particularly in large metropolises.
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Interferenze 61<\/em><\/strong> (Interference 61), 2022, oil on canvas, 100 x 120 cm<\/p>\n\n\n\n


The work is defined by a striking color palette and a series of architectural forms that, upon closer inspection, take on the semblance of weapons. These elements evoke a sense of menace and confusion, as though the structures themselves could be instruments of conflict rather than mere urban features. The result is a cartography of suspended time, where orientation feels unattainable. The dominant sensation is that of being trapped in a temporal and spatial labyrinth, where the coordinates of reality seem to dissolve, and direction becomes more a matter of perception than geography. Thus, the work prompts reflection on our ability to navigate a world that grows increasingly complex and disorienting.<\/p>\n<\/div>\n<\/div><\/div><\/section>\n\n\n\n

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Interferenze 55<\/em><\/strong> (Interference 55), 2022, oil on canvas, 80 x 100 cm<\/p>\n\n\n\n


The image recalls a map of urban settlements seen from above, with the outlines of architectural structures easily identifiable. However, these buildings do not seem to rise only vertically; instead, they appear to extend in all directions, creating a multidimensional effect. This is achieved through the use of vibrant colors and jagged shapes, which also evoke the graphic style of early 1980s video games.<\/p>\n<\/div>\n<\/div><\/div><\/section>\n\n\n\n

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Interferenze 62<\/strong> \u2013 Donna, vita, libert\u00e0 <\/em><\/strong>(Interferences 62 \u2013 Woman, Life, Freedom), 2023, oil on canvas, 80 x 100 cm<\/p>\n\n\n\n


A Turkish woman, Nasibe Shamsaei, cuts her hair in protest against the Iranian government following Mahsa Amini\u2019s death. The iconic image is fragmented into a chaotic pattern that disrupts perspective, layering multiple planes and dismantling its original coherence. The painting deconstructs the figurative elements, with the woman\u2019s face dissolving into stylized faces surrounding her. This act of protest is depicted as a powerful defiance, a struggle to break free from control and reclaim public space.<\/p>\n<\/div>\n<\/div><\/div><\/section>\n\n\n\n

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Interferenze 47 \u2013 Pulizie di casa <\/em><\/strong>(Interferences 47 \u2013 House Cleaning), 2020, oil on canvas, 100 x 120 cm<\/p>\n\n\n\n


A mundane act, such as reproductive domestic labour, is reimagined within an alternative, technological dimension where the figure fragments, severing all ties to reality and dissolving into a cascade of shapes and vibrant pixels. These highly stylised forms hint at real life only through fragmented details, visible to a discerning and analytical gaze.<\/p>\n<\/div>\n<\/div><\/div><\/section>\n\n\n\n

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aurelio.gaiga@alice.it<\/a><\/p>\n<\/div>\n<\/div><\/div><\/section>\n","protected":false},"excerpt":{"rendered":"","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_acf_changed":false,"inline_featured_image":false,"footnotes":""},"class_list":["post-467","page","type-page","status-publish","hentry"],"acf":[],"_links":{"self":[{"href":"https:\/\/www.aureliogaiga.it\/en\/wp-json\/wp\/v2\/pages\/467","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.aureliogaiga.it\/en\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.aureliogaiga.it\/en\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.aureliogaiga.it\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.aureliogaiga.it\/en\/wp-json\/wp\/v2\/comments?post=467"}],"version-history":[{"count":8,"href":"https:\/\/www.aureliogaiga.it\/en\/wp-json\/wp\/v2\/pages\/467\/revisions"}],"predecessor-version":[{"id":516,"href":"https:\/\/www.aureliogaiga.it\/en\/wp-json\/wp\/v2\/pages\/467\/revisions\/516"}],"wp:attachment":[{"href":"https:\/\/www.aureliogaiga.it\/en\/wp-json\/wp\/v2\/media?parent=467"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}