Stefano Lugli
pittore
Formazione
He begins to paint in 1985
1st teacher the fire, originary painter that possesses all the muses and the deepness of nature
2nd teacher and guide: the colour
he learns the kreek proportions from Alessandra Binini, paintress of Reggio Emilia
for 3 years he attends the atelier of frequenta Monica Poli in Genoa
he learns the use of oil colours from Fabio Quartulli, painter of Reggio Emilia.
He observes, always.
EXHIBITIONS:
Personal exhibition at "Spazio Godot arte contemporanea" - Reggio Emilia - from 11 to 25 Aprile 2008 "DA ... A"
Painter of the months on www.webartmagazine.net in March 2009
Joint exhibition "I punti di vista" in the "Clock Tower" in San Polo d'Enza (RE) from the 4st to the 10th April 2009
Joint exhibition "Spazi interiori" at the Art Gallery "Spaziofficina" of Maria Pia Rella in Rome from the 19th to the 24th April 2009
Tematiche
Emotions, spirits, fears, dreams ... memory of an ancestral oblivious?
Tecniche
Oil on canvas, pastel, oil on polimateric supports, mixed tecnique
Quotazione
STEFANO LUGLI
Stefano Lugli was born in Sant’Ilario D’Enza in 1967. He now lives and works in Sordiglio, a village in the hills above Reggio Emilia and it couldn’t be any different when you see the genuineness, the simplicity and the force in his work.
He began painting in 1985 having learnt his first lessons in proportion and painting from Alessandra Binini, an artist from Reggio. For three years he spent time in Monica Poli’s restoration studio in Genoa and studied the use of colour in oil painting with Fabio Quartulli, an artist from his area.
In reality, Stefano has a very personal way of painting that no one taught him, but that comes directly from his spontaneous creative vein of red-blooded man, attentive observer.
STEFANO LUGLI AND THE LABYRINTH OF HIS SENTIMENTS
The joy of many colours flows and gurgles like blood in his veins delineating anonymous personalities, often grotesque, like fantastic monsters, disturbing beasts, to which Lugli’s imagination has given body and painted soul.
His works are the artistic fruit of his enthusiasm and within them the popular figurative is made up of the surreal, the fantastic, so the characters and the palpable events can disappear from one moment to the next in the meanders of pigments that run into each other and almost magically reappear just over there in the enchanted garden.
Collocating this artist’s work in a logical way is just about impossible: his art distances itself from the communal consciousness of the primitive getting closer at times to crude expressionism, at other times he brings to mind touches of Nolde or of Hockney, but the technique that Lugli uses to give life to forms - the main characters in these fairytales, are his own.
A moment in which the plethora of visual arts, from video art to performance, has made us forget how to read the simple symbols within a painting, Lugli’s inventions , placed within the current communicational context, can seem scenarios in which the spectator may interpret as they please: the particular symbols, the forms and their colours reenter the figurative composition with fantastic suggestion.
With this artist we walk into a labyrinth of sentiment: an excited and bizarre mind, certainly not cold and reasoning. We can see that he paints these pictures as though in a trance-like state: as though the deep subconscious is underlying in the work of this emotional and dreamy artist: He never misses a chance to show his joy at painting, with all of those colours that seem to rise from a rainbow after an hormonal downpour.
The man-artist becomes himself fleshing out those fantastic images. His soul grows calm, he has moved some of his poetry onto the canvas and can now go back to living in the ‘real world’.
The story of art seems to have found its teller in the paintings of Stefano Lugli who has elbowed his way into the history of art in our time. As a spectator and interpreter he lives, or relives, a past and a present, translated onto the canvas in his own imaginary codicil, product of a free and visionary spirit: mad looks, clenched hands, contorted faces, menacing presences, no tactful diplomacies, no second thoughts nor pre-prepared plans, all the time able, however, to make subjects of these disturbing figures while balancing with a compositional structure defined by joyous and intense chromatic masses laid out with great enthusiasm.
The wonderful world of Stefano Lugli, stubborn, vying alongside a a stubborn and strong-willed fantasy, can seem far removed from our way of thinking but the forms that this artist presents are the mirror of our fervor, our mental lacerations, when we try , as mere mortals to recuperate fragments or to re-evoke images and feelings from our past , he helps us, with those rich colours, to step away from the norms and conventions , our conformism, and to fly like tropical butterflies in the enchanted poetry garden.
Eraldo Di Vita