SINCERELY

  • untitled by Enzo Maio
    mixed media on paper
    20.0 x 24.0 inches | 51 x 61 cm
    2004
  • untitled by Enzo Maio
    mixed media on paper
    20.0 x 24.0 inches | 51 x 61 cm
    2004
  • untitled by Enzo Maio
    mixed media on paper
    20.0 x 24.0 inches | 51 x 61 cm
    2004
  • untitled by Enzo Maio
    mixed media on paper
    20.0 x 24.0 inches | 51 x 61 cm
    2004
  • untitled by Enzo Maio
    mixed media on paper
    20.0 x 24.0 inches | 51 x 61 cm
    2004
  • untitled by Enzo Maio
    mixed media on paper
    20.0 x 24.0 inches | 51 x 61 cm
    2004
  • untitled by Enzo Maio
    mixed media on paper
    20.0 x 24.0 inches | 51 x 61 cm
    2004
  • untitled by Enzo Maio
    mixed media on paper
    20.0 x 24.0 inches | 51 x 61 cm
    2004
  • The Monk of Sinai by Ville Löppönen
    oil on canvas
    49.0 x 33.5 inches | 124 x 85 cm
    2011
  • Seven Bullets of Kill by Ville Löppönen
    oil on hardboard
    8.5 x 9.0 inches | 22 x 23 cm
    2012
  • Long Ears to Hear by Ville Löppönen
    oil on cardboard
    10.0 x 8.0 inches | 25 x 20 cm
    2010
  • Broken Halo by Ville Löppönen
    oil on hardboard
    6.0 x 6.0 inches | 15 x 15 cm
    2012
  • Above by Ville Löppönen
    oil on hardboard
    12.0 x 6.0 inches | 30 x 15 cm
    2010
  • Brake Through of Colours by Peter G. Ray
    acrylic and oil on canvas
    48.0 x 72.0 inches | 122 x 183 cm
    2006
  • My Waterloo by Peter G. Ray
    acrylic and oil on canvas
    72.0 x 96.0 inches | 183 x 244 cm
    2006
  • The first few lines of text will suffice by Ben Woolfitt

    14.0 x 11.0 inches | 36 x 28 cm
    2006

 

 

 

SINCERELY

Ville Löppönen, Enzo Maio, Peter G. Ray, Ben Woolfitt,

April 12 - May 3, 2014

Opening reception: April 12

De Luca Fine Art is supercalifragilisticexpialidociously pleased to invite you to a collection of bold works by four men: Ville Löppönen (Finland), Enzo Maio (Italy), Peter G. Ray (Bulgaria-Canada), Ben Woolfitt (Canada).

The exhibition shows off Ville Löppönen’s half naked semi-religious figures, painted with oil on canvas or panel. Often portrayed in a clear state of metamorphosis, these figures seem be coming into our world as a mixture of ectoplasm and something else. Löppönen follows the classical tradition of creating mimesis. In this respect he makes us witnesses to the miracle of creation. Artistic creation is quite similar to the actual thing, which made eminent theologians of early church dispute whether it was morally right to make images. A suspicion of this kind is a thing which Christianity, Islam and Judaism share.

The sophisticated existentialist paintings on canvas and paper by Enzo Maio gloriously represent the landscape presence in the exhibition. He meditates on the natural landscape in all its fragility and loneliness to find the shape of his art. It is an intimate and spiritual journey that brings his vision to fruition.

Favoring a pallet of black, white and the visual properties of aluminum, Peter G. Ray’s signature style of painting is one of hyper-illusion. His large canvasses can barely contain the movement of the spheres and ambiguous shapes which occupy the surface.

For this exhibition Ben Woolfitt is presenting a selection of his monochromatic drawings. Their “diaristic” basis is signalled by the double-page format of many of them, literally an open book offered up for our perusal. All of the sophisticated techniques he has perfected over the past thirty years or so are deployed, including a waxed ground, silver leaf, frottage images, graphite and powdered chalk rubbed in by hand, and the evidence of his hand is even more pervasive, often in the form of actual handprints, and in the writing, of course, in every work. This writing, which by its nature deeply reflects his state of mind, varies in length and subject, from a single word, like a title, through to a number of lines with the cadence of a poem.