Gianfranco Zenerato - ABSTRACT MOUSE

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GIANFRANCO ZENERATO (Professional Artist - Italy)
• Active since 1990, with over 600 participation in national and international art events.
• Recognized for the high quality of works, with over 500 awards received.
• 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 Archiving Certificate - Certificate of authenticity signed by the artist - File documenting the artist's professional path
Unique work painted 100% by hand - total dimensions including frame 75x65x5.5 cm - acrylic, metallized pigments, quartz sand.
Ready to hang - Stunning handmade wooden frame prepared (as in photo)
(Modern icon series)

“ABSTRACT MOUSE” is a work that strongly and sensitively embodies the tension between technology, structure and chaos. The material stratification and 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 in a vortex of lines and colors, evoking the constant flow of data, emotions and connections that define our contemporary existence. Gesture-based abstraction and chromatic weaving create a nearly synesthetic sensory experience, in which technology is no longer a mere tool, but an extension of the body and the psyche.

Owning “Abstract Mouse” means acquiring not only a visually striking work but also a piece that dialogues with the great questions of our digital age. It fits perfectly into an art collection that aims 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 embarked on an artistic path 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 credit, 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 from well-known sector 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 carries a poignant warning, where humanity’s defeat may also represent the threshold of a secular redemption. It is a vision rich in symbolic meaning, from a modern school painter who skillfully reconciles research and experimentation. (Paolo Levi)

One perceives 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 dreams. (Paolo Levi)

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

Gianfranco Zenerato develops symbolic narratives that progressively reveal the infinite possibilities of a fertile imagination, organized according to ordered sequences of his mental elaborations. His fanciful constructions could thus confuse critical judgment in defining him as a surrealist. This is not accurate, because he does not present an absurd and unreal imagery, but rather a reality familiar to us, with a 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 study these messages are left to decipher what meaning the author attributed to them. He playfully uses symbols and allusions and enjoys confusing the interpretive coordinates of what could be the interweaving of a story camouflaged as unreality. (S. Russo)

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

The author emphasizes overlapping and intersection of genres, an allusive and incisive metaphorical exploration of subjects and colors. With striking insight, 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. The painter aims to discover a new visual universe, to probe the limits of traditional iconography to demonstrate how painting today—amidst so much noise—remains an original discipline. The artist’s creativity, then, reaffirms—also through vibrant chromies—how the approach tied to genre still has a rightful place in 21st-century painting.

Zenerato’s painting leads us to a three-tier vision of reality. It is a journey through time that we undertake with the artist, who, through various experiments, has over the years placed his vision in a present that looks to the past as an ideal but long-lost world, and a future full of artificial and contrived contaminations. It is a warning and a notice that emerges from the elements placed on the canvas surrounding his overall vision. The “drum kit” we find 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 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, positioned on the present temporal plane, represents the archetype of the mother-Earth placed in the middle ground between past and future.
Gianfranco, like an Odysseus, travels in this time dimension, seeking 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 created, the technological one, which is slipping from his grasp, and feels the need to return to where he started. Thus, the cyclicity returns where travel is this eternal call to life and death. We must return to the starting point to rediscover ourselves, and the female figure 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 Gianfranco Zenerato undertakes there is this temporal circular echo, this departure and return. When looking to the future, we can only turn our gaze to the past to preserve our roots, to avoid being dehumanized by the technological and post-technological world.
Each journey puts rationality and emotions on the same level, gives rise to doubts and fears, everyday times distort and take on new meanings.
Going toward the future becomes a challenge, captured in the feminine gaze, but also a danger because it is almost a loss of identity. To depart means facing separation from the “old self,” made of habits, roles and certainties. Departing is freedom, even if limited because one faces the unknown; it still manages to bring order to the past. The moving perspective becomes centrifugal and centripetal; the flow of expansion is the direction one is heading, while the axis of contraction is the direction one comes from, and in Zenerato’s works one feels this sense of origins from one place and moving 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 crumbled 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 losing the link with the past, and even the elements of still lifes become, in some cases, almost absent and overwhelmed by technological elements.
Therefore it becomes essential to protect oneself from this advancing future, dangerous and almost uncontrollable, 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 our reflection in a mirror. Departing with him will mean momentarily shading those mirrors while waiting to discover a different image of ourselves. We may 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 shared fate, a common identity. (Gaetana Foletto)

The artist, starting from classical pastism with a language of pre-abstract figurative art, on the background of his inner historicizing cosmos widens the moving 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 especially color, rich in clarity and timbral purity, to engage with the present even in a technological form. His modernity is genuinely psychological and an intensive expression of his expressive charge of variables of late-1990s postmodernist memory with Caravaggesque overlaps ... and modern psychology of post-Renaissance extraction (Rembrandt ...). Zenerato has broad creative potential historically, skillfully combining it poetically, assembling, vibrating the harpsichord of the soul’s poetry on the coordinates of art history in universal values, and in a scan on the cursor of his infinite imaginative evolution, through the hyperrealism of his visionary dream, a window opened and added to reason. conversing with the present. (Prof. Alfredo Pasolino)

Very interesting his research: figurative reaches scenic effects in a space where a symbolic frequency vibrates, entrusted from time to time 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 present 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 sentence to talk about the rich and innovative painting of Gianfranco Zenerato’s art, and this because through that simple phrase a great truth is told, namely that 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 by the Masters of the past, must overcome enormous obstacles, because as also Giorgio Morandi claimed, “There is nothing or very little new in the world,” and therefore to be original one should paint keeping in mind 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 granted only to a few elect who, capable of seeing what others often do not even 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 we must certainly include Maestro Zenerato, a painter whose talent is rare, who makes meticulousness, rigor and fantasy a painting style that, although it recalls the past Masters, proves that the artist has learned from the lessons of fine painting, stealing an impeccable technique from the greats, presenting a uniqueness and an individual vision visible in that touch of elegant modernity present in every single creation, making him a rare bird in the national artistic panorama.
Vases of flowers and ripe, lush fruit, laid on high walls of marble worn by the years and often smeared with amorous drawings of two young lovers, weave together 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 salutes the sun and greets the moon, emphasizes even more what Zenerato bans on the marble tablets in the foreground, where a color increasingly vivid ranges from red, to yellow, to green, and to 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 what is ugly and negative 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