Gianfranco Zenerato - TECHNOLOGICAL CONFLUENCE - Luminescent paint - XL

OPPORTUNITIES FOR ART COLLECTORS AND INVESTORS

Among the most appreciated contemporary artists and fastest growing on Catawiki, Gianfranco Zenerato has already earned the trust of over 180 international collectors.

ADD AN EXCLUSIVE AND DISTINGUISHED WORK TO YOUR COLLECTION, CAPABLE OF ENHANCING THE PRESTIGE OF YOUR ART HERITAGE!

- 216 works sold
- 100% positive feedback
- 84 certified reviews

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if you are on vacation or temporarily away, I invite you to contact me to arrange together the delivery schedule for the purchased lot. I will be happy to accommodate your organizational needs so that delivery takes place in the most convenient times and ways for you.

www.zenerato.com

Unique piece 100% HAND-PAINTED on premium BLACK VELVET - It glows in the dark

WHY COLLECT A GIANFRANCO ZENERATO WORK

✓ Over 35 years of professional career
Active since 1990, Gianfranco Zenerato has developed over time a personal artistic language, recognizable and appreciated by collectors and art critics.

✓ More than 600 exhibitions and artistic events
A constant presence in the national and international art scene, built through decades of exhibition activity.

✓ Over 500 awards and recognitions
A path that has been acknowledged by institutions, critics and cultural organizations that recognized its value and quality.

✓ Works present in private and public collections
His paintings are part of collections in Italy, Europe, America and Asia, confirming international interest in his work.

✓ Valued by specialized critics
His artistic research has been analyzed and presented by authoritative critics and art historians, including Paolo Levi, Giammarco Puntelli, Sandro Serradifalco, Giorgio Grasso and many other professionals in the field.

✓ A unique and instantly recognizable style
Zenerato’s works combine figurative tradition, symbolism and contemporaneity. Each painting tells a story and invites the viewer to a personal and ever-new reading.

✓ Works created with high technical quality
Great attention to detail, compositional balance and chromatic intensity make each piece visually impactful and collectible.

✓ Not just a simple decoration
Each work emerges from a research journey developed over more than three decades of professional activity and represents a synthesis of the artist’s vision.

An opportunity for the collector

Acquiring a Gianfranco Zenerato work means owning an original piece created by an artist with a long documented career, hundreds of awards and a consolidated presence in international collections.

An artwork designed not only to be admired today, but to maintain its artistic, cultural and collectible value over time.

(Painting with luminous colors)

In TECHNOLOGICAL CONFLUENCE, the artist shapes an intense meditation on the intertwining of consciousness and technology. The cybernetic figure, absorbed in contemplation, embodies a post-human capable of wonder at the fragility of the living, symbolized by the butterfly. The digital device, mirror and interface, quietly interrogates identity in the era of code. In the background, a fighter-bomber traces the dramatic boundary between destructive and regenerative technologies, a contrast between war and care. The natural and phosphorescent light suggests a dual consciousness, suspended between visible and invisible, reason and mystery. A work that fuses painting and thought in a dialogue of extraordinary strength.

With TECHNOLOGICAL CONFLUENCE you acquire a work that elegantly synthesizes the dialogue between technology and consciousness. A visual presence of great intensity, capable of distinguishing your collection for originality and contemporary vision. It is not just a purchase, but a value choice: a work that speaks the language of the future, with the strength of painting and the depth of thought.

Unique piece 100% HAND-PAINTED
International Archival Certificate - Certificate of authenticity signed by the author - Dossier containing the artist’s artistic path - Acrylic, luminous colors, metallic pigments on premium black velvet already mounted on a wooden frame - Glows in the dark - Dimensions 80x100x2 - 2025
Ready to be hung

IMPORTANT NOTE FOR BIDDERS OUTSIDE THE EUROPEAN UNION
Shipping to non-EU countries is possible, but due to the complex bureaucratic procedures (ministerial authorizations, customs paperwork, etc.), additional costs apply, already included in the shipping costs indicated in the listing.
For the same reasons, delivery times may be longer than usual.
Thank you for your understanding.

GIANFRANCO ZENERATO (Professional Artist - Italy)

Active since 1990, he has embarked on an artistic journey that has 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 public and private collections of note 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 sector experts:

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

One notices from 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 dream. (Paolo Levi)

In this unsettling yet explicit visual message, the dialogue between chromatic essentiality and the harmony of forms testifies to expressive tension and the mastery of a skilled artist. Interesting and original is the mixture of flowers, fruits and technological objects of contemporaneity. (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 own mental elaborations. His fanciful constructions could thus confuse critical judgment in defining him as a surrealist. This is not correct, as he does not present an imaginary, absurd or unreal, but rather paints 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 scenic component, and those who scrutinize these messages are left to decipher what meaning the artist attributed to them. He indeed plays with symbols and references and enjoys confusing interpretive coordinates of what could be the weave of a story camouflaged as unreality. (S. Russo)

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

The author focuses on overlapping and intersecting genres, on an incisive, metaphorical search in subjects and colors. With a brilliant intuition he unifies past (still life), present (the female image), and future (symbolism, cryptic writing...) so that the work becomes an artistic but also literary and metanarrative paradigm. The painter’s task is to identify a new visual universe, to probe the limits of traditional iconography to show that painting today — amid much noise — remains an original discipline. The artist’s creativity then reaffirms — also thanks to the vibrant chromatic tones — how the approach tied to gender still has citizenship in 21st-century painting.

Zenerato’s painting leads us to a three-tiered vision of reality. It is a journey through time that the artist invites us to undertake, who through various experiments has over the years placed his vision in a present that “looks” to the past as an ideal but now lost world, and to a future full of artificial and artificial contaminations.
It is a warning and a notice the message that emerges from the elements placed on the canvas around his overall vision. The “battery” we find as a fixed element tells us “attention,” time is about to expire, and the strong call of natural elements placed in the foreground, contaminated by objects of the technological world (the mouse, the CD or the alarm clock) emphasize how important it is not to sever the bond with the past, with a world where nature was predominant.
The female element, placed on the temporal plane of the present, represents the Mother-Earth archetype 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. Driven 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 created, the technological one, that is slipping from his hands and he thus feels the need to return to where he started. Thus the cyclicity returns, where the journey is this eternal call to life and to death. We must return to the starting point to rediscover ourselves and the feminine figure 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 circular temporal reference, this departing and then returning. When looking to the future, all that remains is to turn the gaze to the past to keep our roots, not to let ourselves be dehumanized by the technological and post-technological world.
Each journey sets rationality and emotions on the same level, raises doubts and fears, the times of everyday life distort and take on different meanings.
Going toward the future becomes a challenge, caught in the female gaze, but also a danger because it is almost a loss of identity. Departing means facing the separation from the “old self,” made of habits, roles and certainties. Departing is still freedom and even if this is limited because one goes toward the unknown, it manages to bring order to the past. The moving perspective becomes centrifuge and centripetal, the flow of expansion is the direction in which one is going, while the focus of contraction is the direction from which one comes and in Zenerato’s works you have this sense of origin from one place and direction toward another. At the center the female figure as a reference point: 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, representing arrival, is, in some works, dehumanized, and the female 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 disconsolate 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 technological ones.
It becomes essential, then, to protect oneself from this future, which advances perilously and almost uncontrollably, and to seek refuge in something familiar 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 darkening those mirrors in anticipation of discovering a different image of ourselves. We will perhaps find our essence, become aware of 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 fate, a common identity. (Gaetana Foletto)

The artist, starting from classical pastiche with a language of pre-abstract figurative, on the background of his inner historicizing cosmos widens the movable cursor of his developing consciousness, up to the extreme urgencies of the present, subjugating his learned technique to the energy of dream, sign, symbol and, above all, 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 transavanguardia citazionista from the late 20th century onward... with Caravaggian perspectival overlays... and modern post-Renaissance-influenced psychology (Rembrandt...). Zenerato possesses broad creative potential historically, know how to poetically combine them, assembling, making the strings of the soul’s Poem vibrate on the coordinates of the history of art in universal values, and in scanning on 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 his research: figurative reaches scenographic effects in a space where a symbolic frequency vibrates, entrusted to dream, myth, or everyday reality, all harmonized by a splendid chromatic game.

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 speak of the rich and innovative painting of Gianfranco Zenerato, and this because through that simple sentence a great truth is told: in painting, everything has already been done and today the artist who seeks to conquer his own individuality, without being influenced by past currents and Masters, must overcome immense obstacles because as Giorgio Morandi also said, “There is little to nothing new in the world,” and therefore to be original one should paint taking into account social, technological and scientific evolutions.

It is said that art is for everyone but not for everyone, everyone has the right to be moved by a masterpiece, but painting and creating 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 look, into vibrant tones that color the grayness of the world around us.
Among these lucky ones, the Master Zenerato surely deserves to be counted, a talented artist who makes meticulousness, rigor and fantasy a painterly style that, while recalling past Masters, proves that the artist has learned from the lessons of beautiful painting, stealing from the greats an impeccable technique, presents 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 national artistic scene.
Flowers and ripe, lush fruit, laid against high marble walls worn by time and often stained with the amorous drawings of two young lovers, intertwine with objects of modern daily life, such as a CD-ROM, a mouse, a spatula, which become a link 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 vigor what Zenerato rejects on the marble boards in the foreground, where a color increasingly vivid ranges 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 can represent what he feels by filtering the ugliness and negativities that our world carries with it.

There are those 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.

He has 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