Alessandro Bavari is one of the coming modern artists who have performed classical studies in art but then went over to combine this education with the new world of the computer. This allows him to generate paintings in the old roman tradition of Giotto, Michelangelo and Piero della Francesca but also in the style of the flemish schools like van Eyck and to incorporate them in digital photographies. This allows him a transition from real world images into the virtual artistic world of visions and interpretation of emotions. Photography until recently has not always been regarded as a true art. Since Wolfgang Tillmanns was decorated early this year with the Turner Price for the first time a now became officially so to say a member of other yet classical arts. Alessandro Bavari is certainly one of the modern multitalented artists who contribute to this new quality of art with his work. His last work Sodom and Gomorrah opens a whole new vision with impressive images of this old myth.
Alessandro Bavari has created with the TRYPTICHON, deconstruction of a Hero and reconstruction of the Man a new allegory of fragility of men on one hand, a men who can hold a mountain on one finger but also its permanent will to power, survive and violence. The symbolic statements relie entirely on body images with the concept that men`s body may mirror even more than the face an essential part of human biography.
Mr. Dieter, Hesch, M.D.
Professor of Medicine and Biology, scientist and writer
In several images realized in these last years, the head of my subjects is often replaced with that of an animal, with an object, or occulted by a mask. This my choice proceeds from the wish to make the figures represented in my works an integral part of the composition, bodies treated in the same way as if they were simple objects, without a definite personality or characteristic.
Revealing pronounced features and eyes too much intense and pregnant could make the models the protagonists of the image, averting the attention of the observer from the choralism of the whole composition, changing significance and allusions.
When I realized TRYPTICHON, deconstruction of a Hero and reconstruction of the Man, I painted once more a human body without face, being its absence (subrogated by the fragments of the head of a statue) not a synonymous of anonymity but the magnification of an anti-individualistic ideal, aimed to representing the man in his whole universality. In TRYPTICHON the absolute protagonist is a vital body, impetuous and vibrant, that just like a sculpture is dismembered and reassembled, becoming the allegory of the history of mankind. This body will get to temper its own exuberance trasforming into a sublime and trascendental object, but at the same time fragile and unstable, in which the balance of body and soul is kept by a thin rope tied to a twig, and the balance of mind and knowledge is counter balanced by a head held in the palm of a hand, with the awareness that this will be an equilibrium forever unstable and swinging, on the edge of the infinite abyss of the eternity.
Alessandro Bavari, 2001