miscellanea

G. Soldi: Biography of Filippo Rossi from 'Maria Mater Misericordiae et vitae', Cartei and Bianchi editions. Florence, 2007.

Filippo Rossi (Florence, 1970)

Filippo Rossi "Florentine artist who exhibits since 1994 and also worked for several years on issues related to the sacred" after a figure starts to make use of abstraction to convey his thoughts. Using very different materials has succeeded in recent years to better define the 'half' to reach the 'end'. Thanks to a fruitful period of research which has experienced new materials and manufactured chemically recover the use of natural products such as paper, jute canvas and wood, often succeeding to create a true 'abstract icons'. What you're looking in its commitment is a request to stop before the image, so that the work, early fascinating colors and composition, will also buy 'sense-other' to a deeper reading. Work silent and dry, where the only concession to opulence is the use of gold, which is counterbalanced by the 'poverty' of the other colors and materials. The analysis of two of his recent works (published in European art in Christ, Electa, 2006 and through the veil. The image as an encounter, Still, both of Milan 2007 .- Archbishop Timothy Verdon) and the altarpiece Chapel will provide a figure interpretation of his work. A work depicting sacred (Filippo Rossi, Triptych of Mercy, private collection, 2005) called for a Crucifixion. But I would like to emphasize strongly the aspect of 'mercy' of that event, the cross is both non-invasive but highly visible and clearly recognizable. The triptych - 3 panels 60 x 120 cm "arises, therefore, in order to illustrate the immense mercy which Jesus Christ on Golgotha also gives the good thief. The scene shows Christ at the center, which is right (the left observer) and put the thief reprobate and the other party is given the so-called 'good thief'. The key to interpreting this triptych is the single wooden panel, which represents the soul of man. roughness created by more glue and paper tape, transmits the difficulties and anxieties, but especially the sin that surrounds the soul. Likewise, the smooth surface, or carried out without the use of paper, indicate the mercy, the grace that God pours out on us humans. The Christ on the cross is represented on the central panel in the form of 'Veronica' Vera-Icon - and the center and its cost, from which flowed blood and water as a source of mercy for us, that expands, as the wave, up to invade the two side panels. In the left panel, the unrepentant criminal, is bent on itself and turns his back to the Divine Mercy creating the dark inside, preventing the light to penetrate. His greatest fault was to not to trust the mercy of God, despairing of his salvation, thus arriving to lose each reference, losing hope and becoming unable to see the true light is right next to him. In the right panel, the good thief, admitting his sin, opens the infinite mercy of God that springs from the certainty of the Word of Christ: 'Today, you will be with me in Paradise!'. . The soul, ravaged by sin, "note that the paper has created grooves are impossible to reconcile" is completely immersed in sin. Not one inch of the table is paperless. But here is the miracle. The thief, recognizes his miseries and submitting with the utmost confidence to the holy will, receives the dive in the ocean of divine mercy that makes him instantly, completely permeated by light. (Filippo Rossi, Lux in Tenebris, private collection, 2005) The second work shows another aspect of the Crucifixion. A board builders, abandoned in a landfill - although very dirty and worn - presents a central belt 'uncut' with a little cutting, a 'wound' on the left. Hence the decision to use the card soprammessa edges and painted with black bitumen and the yield in gold leaf central shaft is all one: the small cutting blade granted a bolus Armenian, and so a crucifixion ' glorious', light, went live. The implementation of some works for the Chapel of the Maternity Hospital of Careggi, Florence "in particular the blade above the altar," concludes this little process of communication. The crucifix is a glorious spousal crucifix radiates through his grace, every human being. Its light becomes irresistible guide to holiness. A couple walks with a firm trust in Christ through the difficulties of this earthly world. Christ is the bridegroom and the Cross is the perfect marriage bed between Christ and humanity. Christ is the icon of the Father. Each pair also is an icon of the Father, and then every couple is able, thanks to the power of the sacrament, to love and to love one another for free as the Father is with humanity. Marriage becomes - in and with Christ - the sacrament given to the couple to be a visible sign of love that is generous. Among the latest exhibitions remember the exhibition 'Variations figure' Praetorian Palace of Certaldo (Florence) and 'DON QUIJOTE DE LA MANCHA' at Studio D'Ars, Milan (posted at FLASH ART), the collective of the RCMP Florence and the two exhibitions in the States: New York and Orlando. Some of his works are on display at important places such as exhibition Forte Crest Hotel in Milan, home of the Italian football market and some foreign galleries. Writes for various magazines and works of criticism and art history. Published catalogs of various artists.