Paolo Fresu - The Accountant

The work's iconography has an ironic, grotesque quality, likely with various allegorical and satirical interpretations. The language used has strong connections to the German New Objectivity artistic movement. It displays the same simplified and infantile interpretation of a realism based on caricature. We find the same cynical approach as painters like George Grosz and Otto Dix, who lash out at their own society with lucid irony. Much of Paolo Fresu's artistic production has this ironic quality, particularly aimed at representing the bourgeoisie and the clergy. All of this leads this artist to create fantastical characters and creatures (often using a variety of materials) who parade in his paintings as if on an imaginary stage where the vices and virtues of our society are exposed.

Paolo Fresu's grotesque and ironic characters are created by the artist with an absolutely original style that confirms his boundless creativity. The figures perfectly balance caricature-like and strongly expressionistic traits, along with a simplification of the drawing that imbues everything with a magical, fairytale atmosphere. Despite Paolo Fresu's refined formal reduction, it must be emphasized that his invention and attention to detail are truly extraordinary. Each work, in fact, constitutes a world unto itself, thanks to Paolo Fresu's ability to enrich his already fantastical subjects with ever-new and captivating details. Finally, even formally, Paolo Fresu's painting style is distinguished by a complex and elaborate brushstroke.

Paolo Fresu is a painter, sculptor and set designer born in Asti in 1950. Paolo Fresu studied at the Art High School in Turin and at the Albertina Academy, which he interrupted to dedicate himself to theatre, film and television set design. Starting in the 1960s, after a period of experimentation, he began to develop his typical ironic and surreal production, also experimenting with different techniques such as collage and assemblage. In 1992 he created the Manifesto and the prize sculpture for “Astiteatro 14”; in 1997 he painted the Drappi del Palio di Asti; in addition to numerous solo exhibitions, recent anthological exhibitions have been held in Asti: Foyer of the Teatro Alfieri (1992), Ancient Baptistery of San Pietro (1997) and in Alessandria at the Convent Complex of San Francesco (2000).

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