Mediums - paintings-oil and tec. mix canvas PRICE MIN.600/MAX 5000 EURO FOR OTHER INFORMATION SEND EMAIL-CONTACT DIRECT ARTIST OR GALLERY OF ARTIST IN BERGAMO-ITALY (see website official artist) MEDIUMS: Further information on the mixed technical technique :

Artist's Statement -"PERMANENT SEARCH AND EXPERIMENTATION ARE INDISPENSABLE EIEMENT FOR ART AND ARTIST EVOLUTION..."

Biography - ANGELO MAZZOLENI "The origins search,the microcosmos , the new sperimentations" : 30 IMAGES PAINTINGS Angelo Mazzoleni was bom in Firenze 7-6-52.He lives and works in Bergamo -ITALY and is an outstanding emerging painter. He has attended sketching courses at the academy CARRARA-Italy. "His painting is a variegated search of the origins and represents the principles of the life as force creator of the universe . The artistic-experimental run is marked from three different moments: -archetypes ,infancy and primordial strengths, -"cellular microcosm" , - ancestral symbols, paths ,temples and labyrinths, plastic structures mostly ovuliformis, symbologies are often different but always heading to the search of the sorgitive sources of the being of the world." BIO-CRITICAL TEXT-PHILOSOPHY OF ARTIST etc..: Angelo Mazzoleni he spent part of his childhood in Tuscany and part in a mountain village near Bergamo (Lombardy), taking in different landscapes and images joined, however, by the presence of uncontaminated nature, which will underiie his fanciful and eclectic personaiity permeated with silences and introspection After taking his Arts degree in Milan he begins working as a teacher, stili cuitivating his interests in history, literature and painting; as a matter of fact in his younger years he had taken painting lessons from private teachers and followed courses at Accademia Carrara in Bergamo. At this time he takes part in the first painting exhibitions in Lombardy and in other Italian regions.He is also keen on paleontology and fmds a few important fossils which will be donated to musuems of Science of Milan and Bergamo; one of them, not yet known,, was given his name in scientific works. His interest in the mystery of the past and in history, especially the primitive one, characterises his search in the artistic field, before he carne to the discovery of the “cellular microcosmâ€ÂÂ�. In the variety of themes and techniques proposed by the artist during the years a unifying, coherent keynote can be traced: the search for the deepest meaning of the origin of iife in its various forms. In this regard S. Di Carlo’s and L. Lorenzi criticism clearly identifies the basic features of the artist’s experience: “Angelo Mazzoleni~painting Is definitely a searchfor the origins of the world, meant as a vita! force. Jmages and shapes often intertwine and overlap in wonderful colour effects, darker on the edges, brighter near the centre; Besides the chromatic value the artist v painting distinguishes itself in the conceptual symbology which holds the origina lprinciples of as the creative force of the unlverse. His vièw of the world is an elegiac one, mixed with magic elements where a veiy persona! technique harmonizes with a briiiant and refinedpalette lo glve the paintings an extraordinary uniqueness. S. Di Carlo, Member of the Federation of Arts Critics, Fenespart, Rome. “The pictorial world of A: Mazzolenl Is permeated with an intense and continuous metamorphosis of the shapes: either simple or complex they show all their power floating in an undefined space Mazzoleni goes all along the way of the cognitive investigation about l~fe and because ofthis he imagines 4/e in its taking shape • The leitmotiv of his production is the celi, viewedftom any angie, often pigmented, to convey the idea of a vital iridiscence that makes il an immanent energy symbol. For this reason the cellular theme develops in/o a positive obsession , focused on the concept of the accidental transmutation of the cosmic will. Mazzo/en i ~ experimental artistic development is marked by three momenis: initially, the “bestiaiâ€ÂÂ� subjects derivingfrom the rock-painting ofprehistoric times stand out in his paintings, fighting beast or hominids stirred by the sp/nt of the Earth that genera/ed them. The dilemmma between mai/en andform seems to mark a/so the next stage ofhis ca/a/o gue, which reveals the development of a new colo un analysis joined to a formai tissue where Being is coni extuaiised in an oniric and utterly pensonai “ce/lu/ar macrocosm “. The subjects of the secondperiod are vanied, but the most interesting are afew icons, piasticaiiy defined in their monumentai poses, where an acute observer wiilfind a iucid and reckless revisitation of ancient statues and of the classica/ myths, not just as so/id anatomic proportions but rather as the spinitual ones that seem to hover in a space devoid ofrational co-ordinates. Lately Mazzolenì, going along the most audacious expenimental paths, proposes a painting made of the most diverse matenials stuck onto the canvas iike metaphysical fetishes worthy of the most spinituaipniest. Finally, a mature and a/ways evo/ving eclecticism neveals a sensitive, deep, nestless and eccentric souiâ€ÂÂ� L.Lorenzi Artists evolution, partially illustrated by the works presented here, has been essentially outlmed by the recent criticism of L. Lepri (italy Version)and, in its fmal part, by the artist himself: “A bout the works inciuded in this sampie-site I can say that, although d~ffe reni in themes and technique they share one singie /eitmotiv, unlike the more necent ones: the search fon the ultimate meaning of li/e beyond the primordial chaos, an a/tempi io capture pure forms, io represent those ancestrai symbols, once aiive in the cultures of the past and now almost wiped out by pro gness and by the capitalistic, consumer society Some worksfrom the 80s obviously stani from the sunface ofthis evoiution; both in the graphic and in the pictoniai works the intention io go beyond the the pnospective element and the dimensions of the shapes is a/ready clear. As for the vaniety of techniques I guess that this is noi only inevitable, having io include more dian 20 years of work, bui a/so necessany , since repetitiveness and ident(tìcation in one styie io be more recognizabie ane, in my opinion, io be avoided, even though this ìnvolves the nisk of being excessively eclectic. Experimentation andpermanent research are, lo me, indispensable eiements in the artist ‘s evolution and I have never compiied io mereiy commercial homoIogation. The refore the re are works from the 80-90, inspired by primitive ari which I consider “theâ€ÂÂ� informai ari and more recent works where some maleric techniques and symbolist influences - meant as a searchfor archetypalfigures - are experimented. Paradoxically they are works “out of time “, Iike the painting represented on the cover: “The Greath Motherâ€ÂÂ�, hovering between form and absence ofform, colour and absence ofcoiour. presence and absence, where il is visible, in the background the materic untverse that wiil be increasingly present in the subsequent works. Later the pictorial expioration foiiowed diferent paths. the investigation of pure forms, the historical and primitive investigation, the decomposition in planes of reality towards the discovery of the macrocosm asfar as the innovations of these recent years. Thus the latest graphic andpictorial works represent a new investigative direction. On one hand, the searchfor other spaces through the use of materic or egg-shaped compositions. sometimes evoking iandscapes which are reaily dimensions because tha matter gets mio and out of the canvas like one singie scuipture or bas-reiief- sometimes iacking any reference io reaiity as they are sign~ficant themselves; on the other hand the expioration of the invisible structures of 4fe through the energies and the cellular forms that are present in the macrocosm. In conclusion. The is an attempt io search in a chfferent way; startingfrom the latest biogenetic discoveries il is an atlempt lo penetrate matter, lo capture the deepest energy the light, the mystery, the religious sense, the labyrinths and tempies of the spirit. Il is a hard way, aimost impossible and stili ai the beginning. bui il fascinates me and occasionally seems lo take me closer lo the ultimate mystery of exislence, io the sources of Being and of the world. Angelo Mazzoleni.

Gallery Affiliations - The artist is present in the representation archive, for the area of Milan, of directional ARTITALIA.-Centro Milanofiori.-www.artitalia.com. Promotion art gallery -Bergamo ariete gallery Ponte S. Pietro-Bergamo

Exhibitions - PRINCIPAL SHOWS AND RECOGNITIONS Garitta art gallery - Bergamo, Ars Gallery - Bergamo, gallery Modì Bergamo, gallery Bovara-Lecco, gall. Modigliani-Milan, c.l. Rose Luxemburg-Bergamo, Capricorn gallery- Bergamo,m.m.conc. Naz. []-Bologna, reward dolphin gold painting, I reward international Raffaello-Milan, s. conc. Naz. Of painting Agazzi-Bergamo, literary coffee - Bergamo, Coop. Lib.- Bergamo, G.P.-Bratto, G.A.del Pomero Rho-Milan, c. Boulevard-Treviglio, Circ. artistic -Bergamo,G.P. []-Dorga, g. Ram -Selvino,galleria.-Promotion Art-Bergamo, Salon International De Peinture and Sculpture MC ART-Montecarlo-principality of. Munich, Gp-Novara, salon of contemporary art - Trieste, Miami Art center-Miami-Florida-USA ,Gallery Gorà Montreal-Canada,VICTORIAL of Italy space-Gardone Riviera -Brescia... Many his works are furthermore published on international sites between which: "Picassomio"-Spagna-USA and Artmajeur-France. []: http://www.artmajeur.com/angelo and http://www.picassomio.com/angelomazzoleni/en/ [] and furthermore on a lot of other Italian art sites. The artist is present in the representation archive, for the area of Milan, of directional ARTITALIA.-Centro Milanofiori.-www.artitalia.com. They've writing of him: S. Of Carlo (Fed). Crit. (of Rome art), L.. Lazzari, to De Santis, d. Merino, L.. Lorenzi, G.Barachetti,L.Lepri (-critical art journalist)-Perugia, c. Cutrufo ( historical of the art ), G.Latronico (art reviewer). Publications on: The echo of Bergamo Today the province (Lecco) Bergamo Artecultura (Milan). Art magazine