Hanging from a thread
Guardabassi introduces himself in this way, as a “baster” of habits, tendencies and cultures, and it is for this reason that he uses the thread as extra-pictorial resource that he replaces in some occasions with the wire, more lasting and of modern tradition.
In this way Mirco Guardabassi identifies and expresses himself making a connection, a sort of hybrid between the manufacture and drawing.
He shines as heir of the Greek Latin culture, a mythological reminiscence that relates him to legends concerning the searches and the self referential encounters, even though bound to a contemporaneity that can be perceived from the fluidity of the stroke and the chromatic “indiscipline”.
He doesn’t remain focused on a traditional support such as the canvas or the paperboard but he succeeds in spreading out to imprint his judgment on clothes or to invoke it in the audio-visual. The thematic contents can change although they always allude to an environment next to the creator with a “conductor thread” that is divided in the works as a point of union and dissolution.
With this unconventional work, in its conception and realization, Mirco corroborates the diversity of the contemporary art where the creativity prevails beyond the skill.
Maricel Nàpoles
THE MOST IMPORTANT EXHIBITIONS:
2007: Città di Castello, Municipal exhibition centre, Palazzo del Podestà.
2008: Gubbio, Arconi municipal exhibition centre.
2008: Anghiari, municipal expò centre
2008: Perugia, Municipal exhibition centre Porto franco (p.S.Giovanni)
2009: Madrid, Espana, centre expò 14_30.
2009: Milano, Symposium art Gallery.
2009: San sepolcro, centre expò "ex palazzo Pretorio".
2010: Nice, France, Gallery xc .
2010: Basel, Swiss, gallery Marc Puechredon.
2010: Bologna, Gallery 18.
2010: Bonfim, Bahia, Brasil, Museum Contemporary Art,(MAC).
2011: Santiago de Cuba, Cuba, National Gallery Francisco P.P.
2011: Bruxelles, Belgium, AmArt Gallery.
2011: Assisi, "May in Art", Palace Monte Frumentario.
2011: Roma, artist in the world, Spaziottagoni.
