Sara Sacchet - I trampoli gialli





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Original artwork by Sara Sacchet titled I trampoli gialli, 100 x 73 cm, oil and acrylic on canvas with pencil, 2020; in excellent condition; hand-signed on the back; shipped mounted without a frame directly from the artist; landscape in brown, yellow and orange tones.
Description from the seller
"The Yellow Stilts", 100×73 cm, oil, acrylic and pencil on canvas, 2020.
The work will be shipped stretched, unframed. It is signed on the back.
The conditions are excellent.
Bio Sara Sacchet
Initially, my work drew inspiration from natural details of the mountainous landscapes of the place where I live. I was interested in describing the strangenesses and the recurring motifs I noticed. There was then a short interlude on the analysis of historical recollections (these too very felt and part of my homeland).
I then broadened my gaze by focusing on the bond that this territory, composed of rural areas and small historic towns, has with the actual life of the people who inhabit it. It is, in fact, permeated by a way of living that at first glance seems contemporary and aligned with that of today’s society, but deep down it is closely linked to the dynamics of the last century and to those of the farming world.
My aim was therefore to try to make these concepts dialogue with one another, to seek a link between rurality, heritage and contemporaneity; but observing my paintings it is evident how inevitably the strong heritage disconnects the social dynamics and the territory from the false contemporaneity that people believe they live.
"The Yellow Stilts", 100×73 cm, oil, acrylic and pencil on canvas, 2020.
The work will be shipped stretched, unframed. It is signed on the back.
The conditions are excellent.
Bio Sara Sacchet
Initially, my work drew inspiration from natural details of the mountainous landscapes of the place where I live. I was interested in describing the strangenesses and the recurring motifs I noticed. There was then a short interlude on the analysis of historical recollections (these too very felt and part of my homeland).
I then broadened my gaze by focusing on the bond that this territory, composed of rural areas and small historic towns, has with the actual life of the people who inhabit it. It is, in fact, permeated by a way of living that at first glance seems contemporary and aligned with that of today’s society, but deep down it is closely linked to the dynamics of the last century and to those of the farming world.
My aim was therefore to try to make these concepts dialogue with one another, to seek a link between rurality, heritage and contemporaneity; but observing my paintings it is evident how inevitably the strong heritage disconnects the social dynamics and the territory from the false contemporaneity that people believe they live.

