Giuliano Ghelli - Fertile Room

Giuliano Ghelli's painting style transcends the surrealist-pop aesthetic. His research stems from Informal Art and Geometric Abstraction, then moves into Surrealism, contrasting with pop references. In Ghelli, Surrealism is found in creative freedom and in rebellion against artistic and social conventions, and this is clearly visible in the work "Fertile Room," whose title itself references the act of an egg being fertilized by a sperm. Furthermore, psychic automatism, another facet of the Surrealist movement that encompasses the representation of one's unconscious thoughts without rational control, can be found in Ghelli's painting, where the stylistic use of pop art—absorbent and playful, with its bright colors—brings home the painter's intended message. Born between the 1950s and 1960s, this movement had a wide-ranging impact not only in the artistic field but also in the cultural one. The artistic expression of pop art is reflected in certain characteristics such as the serial reproduction of popular icons such as comics, advertisements, consumer objects and celebrities as the subjects of their works, followed by a bold use of color and shape in order to emphasize their visual impact. The two coexisting realities—Pop Art and Surrealism—in Ghelli's paintings are strongly characterized by the drawing and the compact use of color. Within the context of the painting, what emerges is a strong awareness of pictorial depth, recreating within the framed space what appears to be a box seen from above, emptied of its meaning, finding a representation bordering on the fabulous, with disparate subjects belonging to another reality. The pictorial dynamic, which focuses on the movement of the canvas's elements, lends interest to the themes addressed. The color emphasizes its compactness and lack of chiaroscuro, which actually strengthens the design.  Born in Florence in 1944, self-taught artist Giuliano Ghelli began frequenting the Galleria di Fiamma Vigo. The artists and painters he frequented influenced his pictorial approach. Ten years later, his meeting with Marcello Secci enabled the artist to paint full-time. His encounter with the renowned art historian Lara-Vinca Masini also enabled him to publish a small volume, "Portapaesaggi," in 1974. From then on, the artist gained renown both in Europe and internationally, bringing him to the Rome art scene with the Rome Quadriennale and the first of three solo exhibitions in New York. In 1989, Lara-Vinca Masini mentioned him in the second volume of Contemporary Art: The Line of Uniqueness, in the chapter on Pop Art in Europe. Also in the 1980s, a close friendship with the collector Giulio Baruffaldi and the art photographer Stefano Giraldi led to new contacts in the worlds of culture and industry. His artistic career continued to grow until 1995, when Ghelli completed his first major commission, again on mechanical themes: twenty large-format canvases for the then-new Mercedes-Benz Italia headquarters in Rome. In early 2000, he created a series of painted mannequins for the National Chamber of Fashion (Milan Fashion Award 2002, 2003, and 2004), a one-of-a-kind model of the new Fiat 500 presented in Tokyo in 2008, and in 2009, the City of Siena commissioned him to paint the banner for the Palio dell'Assunta. In 2013, Ghelli was awarded the Silver Banner by the Regional Council of Tuscany and the honor of Commander of the Order of Merit of the Italian Republic by President Giorgio Napolitano.  

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