Gianfranco Zenerato - METAPHYSICAL MOUSE

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Over 180 collectors have purchased Gianfranco Zenerato's works on Catawiki.
AMONG THE TOP 5 RISING ARTISTS ON CATAWIKI

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200 Objects sold - 100% Positive - 76 Reviews

www.zenerato.com

• Active since 1990, with over 600 participation in national and international art events.
• Recognized for the high quality of the works, with over 500 awards.
• Present in public and private collections in Italy, Europe, America and Asia.
• Has exhibited alongside masters such as Antonio Nunziante, Athos Faccincani, Alfonso Borghi, Giuseppe Menozzi, Giampaolo Talani, Saturno Buttò, etc.
• Critically acclaimed by leading Italian critics.

International Archival Certification - Certificate of Authenticity - File containing the artist's professional path
Unique hand-painted piece - total dimensions including frame 56x46x4 cm - acrylic, metallic pigments and quartz sand on panel - 2025
Ready to hang - Beautiful high-quality handcrafted wooden frame

METAPHYSICAL MOUSE
In this painting the computer mouse undergoes a visual and conceptual metamorphosis: from a simple functional object it becomes an almost organic presence, a transforming form that seems to escape its nature as a tool. The image suggests the passage from the everyday object to a symbol of contemporary technology.
The dynamic composition and chromatic tension amplify this transformation, making the mouse an enigmatic figure, suspended between reality and imagination.
For a collector, METAPHYSICAL MOUSE is a work capable of uniting visual force and idea: an iconic image of our time, destined to stand out and maintain its charm over time.

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GIANFRANCO ZENERATO (Professional Artist - Italy)

Active since 1990, he has pursued an artistic path that led him to participate in over 600 art events, receiving national and international recognitions for the quality of his works. With over 500 awards to his name, his creations enrich prominent public and private collections in Italy, Europe, America and Asia. He has exhibited alongside masters such as Antonio Nunziante, Athos Faccincani, Alfonso Borghi, Giuseppe Menozzi, Giampaolo Talani, Saturno Buttò, etc...

Currently, he collaborates with the well-known art critic, Prof. Giammarco Puntelli.

Some of the countless reviews by renowned experts in the art field:

Gianfranco Zenerato belongs to the current of artists of the seventies, stern messengers to Western society. While Milanese Antonio Recalcati and Roman Franco Mulas expressed social anger, Zenerato instead bears a poignant warning, where the defeat of man can also signify the threshold of a secular redemption. It is a vision dense with symbolic meanings, of a painter from a modern school, who with talent manages to reconcile research with experimentation. (Paolo Levi)

One notices in this emblematic image a kind of invitation to meditate on the beauty of a still life, a flower and a young woman. The classicity of these silent images interrupts the suspended atmosphere of a gray world, the contemporary one, which diverts us from the dream. (Paolo Levi)

In this unsettling yet explicit visual message, the dialogue between chromatic essentiality and the harmony of forms testifies to the expressive tension and mastery of a prudent artist. Interesting and new is the mixture of flowers, fruits and contemporary technological objects. (Stefania Bison)

Gianfranco Zenerato develops sign-based narratives that reveal, step by step, the infinite possibilities of a fertile imaginary, organized according to ordered sequences of his mental elaborations. His fantastic constructions could confuse critical judgment in defining him as a surrealist. This is not accurate, because he does not present us with an absurd and unreal imaginary, but rather a reality familiar to us, with a communicative and highly symbolic purpose. (Sandro Serradifalco)

This painting by Gianfranco Zenerato is technically well-structured, finely and richly articulated, and proposes the reality built by the mind of a visionary. His works have a strong scenographic component, and those who scrutinize these messages are left to decipher what meaning the author attributed to them. He indeed plays with symbols and allusions and enjoys confusing the interpretive coordinates of what could be the plot of a story camouflaged in unreality. (S. Russo)

With Gianfranco Zenerato we have an excellent idea, transformed with great skill into a depiction of anticipation, where modernity meets a time that no longer exists to reawaken our feelings... (Giammarco Puntelli)

The author relies on overlapping and intersecting genres, on an allusive and incisive metaphorical search in subjects and colors. With a brilliant intuition he unifies the past (still life), present (the female image) and future (symbolism, cryptic writing...) so that the work becomes both an artistic and literary and metanarrative paradigm. He presses the painter to discover a new visual universe, to probe the limits of traditional iconography to demonstrate how painting today — amidst much noise — is still a original discipline. The artist’s creativity then reaffirms — thanks also to the dazzling chromies — how the approach tied to the genre still has a right to citizenship in 21st-century painting.

Gianfranco Zenerato’s painting leads us to a vision of reality operated on three levels. It is a journey through time that we undertake with the artist, who through various experiments has come to place his vision in a present that looks back to a past as an ideal world, but now lost, and a future full of artificial and artificial contaminations.
It is a warning and an admonition the message that transpires from the elements on the canvas surrounding his overall vision. The “battery” that appears as a fixed element is telling us “attention”, time is running out, and the strong call of natural elements placed in the foreground, contaminated by objects from the technological world (the mouse, the CD-ROM or the alarm clock) highlight how important it is not to sever the link with the past, with a world where nature was predominant.
The female element, placed on the temporal plane of the present, represents the archetype of the Mother-Earth placed in the middle ground between past and future.
Gianfranco, like an Odysseus, travels in this temporal dimension, in search of the forces that sustain and shape us, alter or govern our fate. Pushed toward the future, the man-artist faces the journey with strength and determination, but then realizes his own fragility before the complexity of a world he has created, the technological one, which is slipping from his grasp and he feels, therefore, the need to return to where he started. Thus the cyclicity returns in which the journey is this eternal call to life and to death. We must return to the starting point to find ourselves again and the feminine figure thus becomes the symbol of the one who allows us to be reborn.
The words “to depart” and “to give birth” both contain the concept of separation and detachment, and in every journey undertaken by Gianfranco Zenerato there is this temporal circular reference, this departure and then return. When looking to the future we can only turn our gaze to the past to not lose our roots, to not let ourselves be dehumanized by the technological and post-technological world.
Each journey places rationality and emotions on the same level, arouses doubts and fears, everyday times distort and take on different meanings.
Moving toward the future becomes a challenge, captured in the gaze of the feminine, but also a danger because it is almost a loss of identity. Starting means facing separation from the “old self”, made of habits, roles and certainties. To depart is still freedom and even if this is limited because it leads toward the unknown, it manages to bring order to the past. The moving perspective becomes centrifugal and centripetal, the flow of expansion is the direction we are going, while the core of contraction is the direction from which we come, and in Zenerato’s works one has this sense of coming from a place and moving toward another. At the center the feminine figure as a point of reference: it is the artist’s consciousness, the heart of going, with its rhythms, noises, times, difficulties, discoveries and emotions.
The temporal plane of the future that represents the arrival is, in some works, dehumanized, and the feminine figure is almost eroded because the artist himself does not recognize himself in such a placement: it is as if the loss of identity were a desolate resignation to the loss of connection with the past and even the elements of still lifes become, in some cases, almost absent and overwhelmed by those of the technological world.
It becomes fundamental, then, to protect oneself from this future, which advances perilously and almost uncontrollably, and to seek refuge in something known and ancient where even “illusions are real.”
With Gianfranco Zenerato we truly have the possibility to travel through dreams, signs and symbols, where each of us will see ourselves reflected in a mirror. Departing with him will mean momentarily obscuring those mirrors in anticipation of discovering a different image of ourselves. We may find our essence, realize the relativity of values and of our own and others’ points of view. We may get lost and then find ourselves again, realizing a common nature, a common destiny, a common identity. (Gaetana Foletto)

The artist, starting from classical pastism with a language of pre-abstract figurative, on the background of his inner historicizing cosmos, ranges the mobile cursor of his developing consciousness, up to the extreme emergencies of the present, subjugating his learned technique to the energy of dream, sign, symbol and especially the color, rich in clarity and timbral purity, to interact with the present even technological. His modernity is genuinely psychological and an intensive expression of his expressive charge of the trans-avant-garde citational of late twentieth century onward... with Caravaggesque perspective overlays ... and modern psychology of post-Renaissance extraction (Rembrandt ...). Zenerato has vast historical creative potential, knowing how to poetically combine it, assembling, making the string of the soul’s poetry vibrate on the coordinates of art history in universal values, and in scanning the cursor of his infinite imaginative evolution, through the hyperrealism of his visionary dream, a window opened plus reason. dialoguing with the present. (Prof. Alfredo Pasolino)

Very interesting is his research: figurative reaches scenographic effects in a space where a symbolic frequency vibrates, entrusted from time to time to dream, myth, or everyday reality, all harmonized by a splendid chromatic game.

The Artist of Rigour and Modernity
Curated by Francesco Cairone

The most original authors are not so because they promote what is new, but because they express what they have to say in a way that seems never to have been said before. (Goethe)

It is necessary to start from Goethe’s incisive phrase to talk about the rich and innovative painting of Gianfranco Zenerato, and this because through that simple sentence a great truth is told: in painting, almost everything has been done, and today the artist who seeks to conquer his own individuality, without being influenced by currents and Masters of the past, must overcome enormous obstacles, because as Giorgio Morandi also stated, “There is nothing or very little new in the world,” and therefore to be original one would have to paint keeping in mind social, technological and scientific evolutions.

It is said that art is for everyone but not for everyone, so everyone has the right to be moved in the presence of a masterpiece, but painting and creating is a gift that God has granted to only a few chosen who, capable of seeing what others often do not perceive, manage to transform the emotions that arise from small things, from a gesture, from a caress, from a look, into vibrant tones that color the greyness of the world around us.
Among these fortunate ones there is certainly Maestro Zenerato, a talented artist who makes meticulousness, rigor and fantasy a painting style that, although recalling past Masters, shows that the artist has learned from them a faultless technique, presenting a uniqueness and an individuality visible in that touch of elegant modernity present in every single creation, which makes him a rare bird in the Italian art scene.
Flower and fruit canopies, ripe and lush, laid on high walls of marble worn by the years and often smeared with amorous drawings of two young lovers, intertwine with objects of modern daily life, such as a CD-ROM, a mouse, a spatula, which become the linking ring between past, present and future; the surrounding landscape, almost always captured at dusk when the green ray greets the sun and welcomes the moon, emerges with even greater force what Zenerato bans on the marble boards in the foreground, where a color ever more vivid stands out ranging from red, to yellow, to green, and all the warmer tones of the rainbow.
And the rainbow seems to overshadow the career of this young and promising artist, a prose-writer of art because he creates a style that is first poetic and then pictorial, with which he manages to represent what he feels by filtering the ugliness and negativities that our world carries with it.

They have written about him or judged his works:

Paolo Levi, Paolo Rizzi, Giammarco Puntelli, Giorgio Grasso, Sergio Capellini, Pietro Gasperini, Francois Buisson, R. Boschi, Michele Nocera, Carlo Alberto Gobbetti, Antonella Gotti, Gianni Ingolia, Dino Pasquali, Umberto Zaccaria, Umberto Tessari, Ottorino Stefani, Giulio Gasparotti, Carlo Federico Teodoro, Carlo Rigoni, Giorgio Trevisan, Vera Meneguzzo, Claudio Radaelli, Grillo Biagio, Luca Dall’olio, Franco Brescianini, Giovanni B. Bianchini, Mara Frignani, Aldo Tavella, Angelo Marchiori, Walter Coccetta, Paolo Baratella, Luciano Chinese, Luigi Consonni, Giuseppe Possa, Silvano Valentini, Siro Perin, Alfredo Pasolino, etc.

He collaborated with the following galleries:

Galleria Cd Studio d'Arte
Galleria New Dimensione Arte
Galleria Emmediarte
Galleria La Spadarina
Galleria l'Artista
Galleria Arttime
Galleria Orler