The artist, discovered by Daniele Comelli gallery, now exhibits at Art Context in Miami
In a constant and provocative balance between social criticism and historical revival, Daniele Oldani today holds many keys to contemporary communication. He is ironic, irreverent, cultured but without being arrogant, indeed: the references present in his works range from undisputed masters to popular characters, from heroism of comics to tragic life stories of artists of the ‘900.
In fact, before arriving to painting, he works as a tattoo artist, Warner Bros illustrator and attends the school of comics in Milan, a city that also marks as a writer, in the act of participating in a counter-cultural world that completes the technical background of an artist who can gain the attention of a non-paying audience and tune in to the nuances of his passage.
Acrylic and oil pastel gain, for Oldani, a leading role and the canvas becomes the support on which to express lucid visions, highlight knots of a world full of contradictions, sometimes funny, more often bitter.
On view at the Art Context in Miami, one of the most awaited appointments on the international scene, the artworks are promoted in Italy also by Daniele Comelli, a gallery owner able to bet on emerging – first online and in his new exhibition space in Genoa – and mix them with prestigious signatures, in a wide range of proposals for those who wish to contribute to a tailor-made collecting.
The canvas for him is the support to highlight a world full of contradictions sometimes funny, often bitter
Thus, in Accardigliani we find the almost alien eyes and the elongated necks of the figures by Amedeo Modigliani on the ostriches by Angelo Accardi, while the two authors stand out, sitting next to each other in black and white, on a colored, frenetic, almost vandalized by writing backwards metaverse.
A stylistic fusion that recalls the link between past and present and, together, represents a tribute to two pillars of his inspiration.
In Bad habits, Michelangelo is struggling with Warhol and Basquiat who embody, in the distorted Pity by Oldani, Our Lady and a Christ lifeless. The dramatic tension of the composition, as well as the title, recall the premature death by overdose of the pupil of pop art, in disturbing contrast with the lively environment and dense of commercial elements.
There is no lack of hard thinking in Only tv can judge me. This time, the mass media are the object of the protest, guilty of creating powerful and controlling rites and deities, represented here by the Virgin with the face of Maria De Filippi set in a television set, in front of an addict audience in prayer.
In the background, a hill surmounted by parables and the inscription “Cinecittà” transfigures a Hollywood in Roman version.
The challenge is addressed to the viewer with a careful look: discovering the symbol and the metaphorical element in the painting to hypothesize interpretive facets and links between the soul of the artist and everyday reality will also test their beliefs.
