> Lost Signals, NFT.NYC, Times Square [New York] US
> NFTs ARE DEAD, IT >
Grails V, PROOF [Miami] US > Third Dimension, Foundry [Dubai] AE
> Are you physical or digital?, Maison Bosi [Roma] IT > Relazioni Impossibili, Fondazione Piero Manzoni [Soncino] IT > Paint on Pixel 2, Bar Rouge [Basel] CH
> Art Dubai, [Dubai] AE > PCS: Post Concrete Semiotics, Nighttimestory US > A New Beginning, Expandedart gallery [Berlino] DE > Visual Detachment, Superrare [Lugano] CH > Paint on Pixel, Valuart, private event [Lugano] CH > Disruption, W1Curates, 33 NFT + Cozomo de’ Medici collection [London] UK > Christie’s Trespassing III, Christie’s [New York] US
On the occasion of the NFT.NYC event, Skygolpe presented a preview of his upcoming collection, Lost Signals.
PAINT ON PIXEL (series)
“Paint on Pixel” marks Skygolpe’s inaugural foray into the realm of physical art. Following a successful debut at a Christie’s auction in July 2022, the collection has been showcased through a series of solo exhibitions spanning multiple locations in Switzerland,
United States and UAE.
This collection is significant because it is one of the first successful attempts to merge the physical dimension with digital technology. Each painting is linked to its NFT certificate, and for the first time in a relevant context like Christie's, ownership of the physical painting was obtained through the auctioning of the digital authenticity certificate.
Skygolpe’s artistic practice melds various digital and analog elements to attain a hybrid outcome, situated at the intersection of virtual and tangible dimensions (mixed reality). This body of work comprises canvases where the physical and digital realms collide, delving into the relationship between meaning and context.
Acrylic paint on canvas interacts with diverse underlying materials and patterns, giving rise to a dialogue that transcends a monothematic definition of painting in favor of embracing novel, heterogeneous forms. Each piece is crafted akin to a “desktop,” blending fragments of other references to create comparisons and juxtapositions while revisiting a gestural approach. The artist employs an array of materials and techniques, both digital and physical, amalgamating them into a seamless and indissoluble solution.
For Skygolpe, a painting represents a complex system comprising a multitude of objects, each reproduced in various ways under distinct technical conditions. These objects possess unique shapes, sizes, positions, and surface morphologies. Furthermore, numerous factors influence their digital manifestation on a physical surface. The works undergo scanning, printing, and reproduction before being revisited until they embody a result mediated by chance.
Skygolpe’s signature silhouette often appears with blurred, flaking edges, surrendering its form in favor of an abstract composition that gradually integrates and assumes a central role in the work, becoming the true subject. Many of the textures employed in his paintings are conceived entirely in the digital realm, while others are derived from physical color experiments conducted in the studio. Skygolpe is captivated by the potential to alter and transform reality and the viewer’s perception through these works, which often represent attempts at partial compositions—sometimes complete, other times still awaiting completion.
EXHIBITIONS:
2022July 8-21, Cristie’s, New York, US 2022September 29, Galerie Widmer Auktionen, Zurich, CH 2022November 10, Lugano, CH 2022June 13-14, Basel, CH 2023November 15, 2023, January 7, 2024, Dubai, UAE 2024 June, TBD, Basel, CH
“His hallmark silhouette, frequently appearing with indistinct, disintegrating borders, morphs into an abstract structure that gradually assumes prominence within the artwork. For Skygolpe’s debut in Dubai and across the Arab region, he is presenting an exhibition titled “Third Dimension,” which combines bodies of work he has created over the last few years. For him, this represents an emblem of emotional depth, concealed implications, or the intricate layers of human consciousness. A bi-dimensional artwork can represent the observable universe while introducing a “third dimension” could unveil the concealed, unexpressed, or inner dimensions of a theme. This display serves as a reflective journey, revisiting the past, assessing the present, and envisioning the future through a diverse perspective.
Skygolpe’s silhouettes offer a fragmented view of identity, conveyed through a modern interpretation of pop art. These multi-tiered entities, defined by a radiant color spectrum and a diverse array of forms, voice a new-age symbolism, nurturing a singular visual language. This body of work comprises canvases where the physical and digital realms converge, exploring the relationship between meaning and context. Each piece is crafted reminiscent of a “desktop,” blending fragments of other references to foster comparisons and juxtapositions while revisiting a gestural approach. The canvases thus encapsulate a process that generates “errors” and unforeseen outcomes, culminating in the composition of the final painting. His acrylic paint on canvas interacts with diverse underlying materials and patterns, initiating a dialogue that goes beyond a singular definition of painting. Many of the textures utilized in his paintings originate entirely in the digital domain, while others stem from physical color experiments conducted in the studio.”
Giuseppe Moscatello
WORKS:
PX624HS (Paint On Pixel) 200x140 cm, Acrylic and mixed media on canvas, 2023
PX988CH (Paint On Pixel) 200x140 cm, Acrylic and mixed media on canvas, 2023
PX9D3H0 (Paint On Pixel) 200x140 cm, Acrylic and mixed media on canvas, 2023
PX9D3H0 (Paint On Pixel) 200x140 cm, Acrylic and mixed media on canvas, 2023
PX2385S (Paint On Pixel) 100x70 cm, Acrylic and mixed media on canvas, 2023
PX3368S (Paint On Pixel) 100x70 cm, Acrylic and mixed media on canvas, 2023
PX5245E (Paint On Pixel) 100x70 cm, Acrylic and mixed media on canvas, 2022
PX6243S (Paint On Pixel) 100x70 cm, Acrylic and mixed media on canvas, 2023
PX6685M (Paint On Pixel) 70x50 cm, Acrylic and mixed media on canvas, 2022
PX7115M (Paint On Pixel) 70x50 cm, Acrylic and mixed media on canvas, 2022
PX7514S (Paint On Pixel) 100x70 cm, Acrylic and mixed media on canvas, 2023
PX7661E (Paint On Pixel) 100x70 cm, Acrylic and mixed media on canvas, 2022
PX8371S (Paint On Pixel) 100x70 cm, Acrylic and mixed media on canvas, 2023
PX8809E (Paint On Pixel) 100x70 cm, Acrylic and mixed media on canvas, 2023
PX9902S (Paint On Pixel) 100x70 cm, Acrylic and mixed media on canvas, 2023
PX5245E (Paint On Pixel) 100x70 cm, Acrylic and mixed media on canvas, 2022
PUBLIC INSTALL The declaration 'NFTs are dead' serves as a provocative statement designed to stimulate contemplation and prompt reflection on the rapid pace at which we embrace trends within the digital art scene. This statement, which appears fully immersed in the present moment, actually engages with the ongoing tension through its inherent contradiction. Discussing the 'death' of something as novel as NFTs is puzzling. It's akin to witnessing the birth of a star and then, declaring it extinguished. In our world, where even our digital personas have a life of their own in bits and bytes, asserting that something is dead transcends mere words – it's a complex riddle. Despite appearances, this work isn't disparaging NFTs. Instead, it invites us to look far beyond the current perspective.
The concept of this work was first introduced by Skygolpe during his solo show at FOUNDRY in Dubai, 15.11.23 / 07.01.24.
THIRD DIMENSION Curated by: Giuseppe Moscatello and produced by Valuart Venue: Foundry, Dubai Date: November 15, 2023 – January 7, 2024
“Throughout history, artists have predominantly been perceived as mirrors of society, encapsulating its core, and reflecting its ethos. Skygolpe emerged as a notable figure in the post-NFT artistic movement. The name blends ‘Sky’, denoting infinity, with ‘Golpe’, indicative of ‘human intervention’. By reinterpreting the conventional artist’s role, he introduces a novel approach to the art world, venturing beyond the borders of traditional art practices and infusing his work with an entrepreneurial spirit. Instead of just being the creator of his work, he positions himself as an innovator and visionary, reshaping and defining cultural narratives, and therefore pushing boundaries. For Skygolpe, a canvas acts as a gateway, a multifaceted system encompassing diverse elements, each depicted uniquely under specific technical paradigms. These elements feature distinct forms, dimensions, placements, and texture dynamics. His work merges digital and physical aspects and delves deeply into philosophical domains. His hallmark silhouette, frequently appearing with indistinct, disintegrating borders, morphs into an abstract structure that gradually assumes prominence within the artwork. For Skygolpe’s debut in Dubai and across the Arab region, he is presenting an exhibition titled “Third Dimension,” which combines bodies of work he has created over the last few years. For him, this represents an emblem of emotional depth, concealed implications, or the intricate layers of human consciousness. A bi-dimensional artwork can represent the observable universe while introducing a “third dimension” could unveil the concealed, unexpressed, or inner dimensions of a theme. This display serves as a reflective journey, revisiting the past, assessing the present, and envisioning the future through a diverse perspective.
Skygolpe’s silhouettes offer a fragmented view of identity, conveyed through a modern interpretation of pop art. These multi-tiered entities, defined by a radiant color spectrum and a diverse array of forms, voice a new-age symbolism, nurturing a singular visual language. This body of work comprises canvases where the physical and digital realms converge, exploring the relationship between meaning and context. Each piece is crafted reminiscent of a “desktop,” blending fragments of other references to foster comparisons and juxtapositions while revisiting a gestural approach. The canvases thus encapsulate a process that generates “errors” and unforeseen outcomes, culminating in the composition of the final painting. His acrylic paint on canvas interacts with diverse underlying materials and patterns, initiating a dialogue that goes beyond a singular definition of painting. Many of the textures utilized in his paintings originate entirely in the digital domain, while others stem from physical color experiments conducted in the studio.
His AI photographic series originates from a collection of technological components that, powered by artificial intelligence, hybridize to produce images that oscillate between the portrayal of a dysfunctional object and its form. Intriguingly, the subjects within these images are non-existent; they are entirely generated through the capabilities of AI. The project’s aim is to explore the paradoxes and potentials of artificial intelligence in technological design, scrutinizing the algorithmic processes that lead to the creation of form, and momentarily unveiling glimpses and improbabilities of these non-existent media elements. This venture seeks to reveal the hidden and unexpected consequences of using AI processes in the evolution of installations, prompting a digital reinterpretation of the ready-made. By incorporating a diverse array of materials, the project aspires to highlight the versatility of algorithmic creation, merging technological components with non-traditional or discarded materials, such as plastic bags, plastic elements, and other generative forms of ambiguous practical utility.”