Gianfranco Zenerato - ABSTRACT MOUSE

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One-of-a-kind piece 100% HAND-PAINTED

GIANFRANCO ZENERATO (Professional Artist - Italy)
• Active since 1990, with over 600 appearances at national and international art events.
• Recognized for the high quality of 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.
• Reviewed by leading Italian critics.

International Archival Certificate - Certificate of authenticity signed by the author - Dossier containing the artist’s professional path
Unique work painted 100% by hand - total dimensions including frame 75x65x5.5 cm - acrylic, metallic pigments, quartz sand.
Ready to hang - Gorgeous handcrafted wooden frame (as in photo)
(Modern icon series)

“ABSTRACT MOUSE” is a work that strongly and sensitively embodies the tension between technology, structure and chaos. The layering of material and the chromatic complexity are not only aesthetic elements but become the visual language of a deep reflection on our era.

The mouse, the quintessential symbol of the digital interface, here dissolves and recomposes into a vortex of lines and colors, evoking the continuous flow of data, emotions and connections that define our contemporary existence. The gestural abstraction and the chromatic weave create a nearly synesthetic sensory experience, where technology is no longer just a tool, but an extension of the body and the psyche.

Owning “Abstract Mouse” means acquiring not only a work with a strong visual impact, but also a piece that dialogues with the great questions of our digital age. It fits perfectly into an art collection that aspires to connect aesthetics and thought, offering the collector a powerful testimony of the interaction between man and machine, between real and virtual.

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GIANFRANCO ZENERATO (Professional Artist - Italy)
Active since 1990, he has undertaken an artistic path that has led him to participate in over 600 art events, earning national and international recognitions for the quality of his works. With over 500 prizes to his name, his creations enrich notable 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 renowned art critic, Prof. Giammarco Puntelli.

Some critiques by well-known industry experts:

Gianfranco Zenerato belongs to that current of 1970s artists, stern messengers to Western society. While the Milanese Antonio Recalcati and the Roman Franco Mulas expressed social anger, Zenerato instead bears a poignant warning, where humanity’s defeat may also signify the threshold of secular redemption. It is a vision dense with symbolic meaning, from a modern school painter who, with talent, reconciles 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 classicism of these silent images interrupts the suspended atmosphere of a gray world, the contemporary one, that diverts us from dreaming. (Paolo Levi)

In this unsettling yet explicit visual message, the dialogue between chromatic simplicity and the harmony of forms testifies to expressive tension and the mastery of a skilled artist. An interesting and unprecedented blend of flowers, fruits and contemporary technological objects. (Stefania Bison)

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

This Gianfranco Zenerato painting is technically well-structured, finely and richly articulated, and proposes the reality built by the mind of a visionary. His works have a strong scenic component, and those who scrutinize these messages are left to decipher what meaning the author attributed to them. He plays with symbols and allusions and enjoys confusing 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 ability into a depiction of anticipation, where modernity meets a time that no longer exists to reawaken our feelings... (Giammarco Puntelli)

The author relies on the overlay and intersection of genres, on an allusive and incisive metaphorical research in subjects and colors. With striking insight, he unifies the past (still life), the present (the female image) and the future (symbolism, cryptic writing...) so that the work becomes both an artistic and literary, meta-narrative paradigm. The painter aims to identify a new visual universe, probing the limits of traditional iconography to demonstrate how painting today — amid much noise — is still an original discipline. The artist’s creativity, then, reaffirms — also thanks to the brilliant chromies — how the approach tied to the genre still has a rightful place in 21st-century painting.

Zenerato’s painting guides us to a three-tier perception of reality. It is a journey through time that the artist invites us to take, as through various experiments he has, over the years, placed his vision in a present that looks to the past as an ideal but lost world, and to a future filled with artificial and pretentious contaminations.
It is a warning and admonition the message conveys when elements on the canvas frame his overall vision. The “battery” we find as a fixed element is telling us “attention,” time is running out, and the strong pull of natural elements placed in the foreground, contaminated by objects of the technological world (the mouse, the CD, or the alarm clock) underscore how important it is not to sever the tie with the past, with a world where nature predominated.
The female element, placed on the temporal plane of the present, represents the mother-Earth archetype set in the midway between past and future.
Gianfranco, like an Odyssey, travels in this temporal dimension, seeking the forces that sustain and shape us, alter or govern our fate. Driven toward the future, the man-artist faces the journey with grit and determination, but then realizes his own fragility in front of the complexity of a world he created, the technological one, that is slipping from his grasp and therefore feels the need to return to where he started. Thus the cyclicity returns, where the journey is this eternal call to life and death. We must return to the starting point to rediscover ourselves, and the female figure thus becomes a 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 circular temporal reference, this leaving and then returning. 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.
Every journey puts reason and emotion on the same level, raises doubts and fears, and daily life times distort and take on different meanings.
Going toward the future becomes a challenge, captured in a feminine gaze, but also a danger because it is almost a loss of identity. To depart is to face separation from the “old self,” made of habits, roles and certainties. Departing is freedom nonetheless, and even if this is limited because it leads to the unknown, it manages to bring order to the past. The moving perspective becomes centrifugal and centripetal; the expansion flow is the direction you are going, while the contraction center is the direction from which you come, and in Zenerato’s works you feel this sense of coming from one place and moving toward another. In the center is the female figure as a reference point: it is the artist’s consciousness, the heart of the going, with its rhythms, noises, times, difficulties, discoveries and emotions.
The future time plane that represents arrival is, in some works, dehumanized, and the female figure is almost crumbled because the artist himself does not recognize himself in that placement: it is as if the loss of identity were a desolate resignation to losing the bond with the past, and even the elements of still lifes become, in some cases, almost absent and overwhelmed by those of the technological world.
Thus it becomes essential to protect oneself from this advancing and almost uncontrollable future, and to retreat to something known and ancient where even “illusions are real.”
With Gianfranco Zenerato we truly have the opportunity to travel through dreams, signs and symbols, where each of us will see our own reflection in a mirror. Departing with him will mean momentarily darkening those mirrors in anticipation of discovering a different image of ourselves. We may find our essence, realize the relativity of values and points of view, both ours and others. We may get lost and then find ourselves again, realizing a common nature, a common fate, a common identity. (Gaetana Foletto)

The artist, starting from classic past times with a language of pre-abstract figurative, within the backdrop of his interior historicizing cosmos, widens the movable cursor of his developing consciousness, up to the extreme emergencies of the present, subduing his learned technique to the energy of dream, sign, symbol and especially to the color, rich in brightness and timbral purity, to engage with the present even in a technological sense. His modernity is genuinely psychological and an intensive expression of his expressive charge of variables of postmodern fourth-wave citational of the late 20th century onward... with Caravaggesque perspective overlays ... and modern psychology of post-Renaissance extraction (Rembrandt ...). Zenerato has broad creative potential historically, knowing how to poetically combine them, assembling, making the lyre of the soul’s poetry vibrate on the coordinates of art history in universal values, and in scanning along the cursor of his infinite imaginative evolution, through the hyperrealism of his visionary dream, a window opened added to reason. dialoguing with the present. (Prof. Alfredo Pasolino)

Very interesting is his research: figurative art achieves scenic effects in a space where a symbolic frequency vibrates, entrusted to dream, myth, or daily reality, all harmonized by a splendid chromatic play.

The Artist of rigor and modernity
Edited 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 it has never been said before.
(Goethe)

It is necessary to start from Goethe’s incisive phrase to discuss the rich and innovative painting of artist Gianfranco Zenerato, and this is because through that simple sentence a great truth is told: in painting, almost everything has already 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, for as Giorgio Morandi also asserted, “There is nothing or very little new in the world,” and thus to be original one should paint bearing in mind social, technological and scientific evolutions.

It is said that art is for everyone but not for everyone; everyone has a right to be moved before a masterpiece, but painting and creation is a gift that God has granted only to a few elect 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 glance, into vibrant tones that color the greyness of the world around us.
Among these fortunate ones one must surely count Maestro Zenerato, a gifted artist who makes minutiae, rigor and fantasy a painting style that, while evoking past Masters in the mind, proves that the artist has learned the lessons of beautiful painting, stealing from the greats an impeccable technique, presenting a uniqueness and a visible individuality in that touch of elegant modernity present in every single creation, making him a white crow in the national artistic scene.
Corsages of flowers and ripe, lush fruit, resting on high marble walls worn by years and often defaced by 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 caught at dusk when the green ray greets the sun and welcomes the moon, emerges with even greater force what Zenerato banishes on the marble slabs in the foreground, where an ever more vivid color range stands out 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 initially poetic and then pictorial, through which he can represent what he feels by filtering the ugliness and negativity that our world carries.

People who 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...

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