Jacopo Dal Bello

Empty Space, 2022

Oil, oil pastel, acrylic, print, and pencil on canvas

Painting120 x 105 x 1cmShips from Germany

£2,400

In stock

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About the Artist

Jacopo Dal Bello (b.1989, Italy) is a visual artist whose practice is transformed through the process of imagination and experimentation. The work develop the process of painting through drawing and drawing through painting. The influences and images come from different contexts; from the history of painting, popular culture and other types of visual communication. These will often coexist in a fragmentary and unsolved way, underlining the similarities and differences between them. Through the collision of historical and fictional moments, the elements are pushed out of their comfort zone and their narrative and history are questioned. In these constructions, pale arrangements of paper, text, pigment, and discarded personal belongings are artfully juxtaposed to create a place of memory and poetic evocation. The mark of the artist is found across canvas, paper, and textile delineated in rich expressive lines and shapes — a view into the alchemical process of making art. Jacopo lives and works in Berlin, Germany.

About the Artwork

Empty space is an exploration of landscape painting, with an eye to what the indicators of space in an image might be. Usually in a figurative painting there are what are recognized as figurative elements such as trees, mountains, buildings, organized in a cohesive whole. These are taken to represent something in the world and their level of stylization is often forgotten. How can the stylization of these elements be taken to the extreme and still these elements contribute to make a landscape painting? Here, for example, there is what could be recognized as nation-state-perimeter, which despite being an abstract form, implies a territory. Is that enough in a painting to suggest something like a landscape? The idea addressed here is that even in its more realistic forms, figurative representation is inherently connected to a specific visual culture. As a result, in order to interpret such works as representations of reality, one must have a certain level of familiarity with that visual culture.

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