Slasky - I’m Fine
07
days
14
hours
48
minutes
42
seconds
Current bid
€ 24
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 | €24 | |
|---|---|---|
 | €21 |
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Slasky’s I’m Fine is a hand-signed, limited-edition giclée print from 2024.
AI-assisted summary
Description from the seller
Slasky's work, which appropriates the famous eighteenth-century portrait by the Veronese painter Pietro Antonio Rotari, becomes in this reading a powerful metaphor of modern isolation and technological loneliness that characterizes contemporary society, in which the individual finds themselves trapped in a paradox of hyperconnectivity and deep emotional disconnection.
That figure, classically folded in on itself and eternally suspended in its silent crying, borrowed from the expressive universe of Rotari's "little heads," embodies the vulnerability of the human being faced with a pain that no longer finds a space for authentic listening but is dismissed and standardized through prepackaged formulas.
The blue speech bubble with the words "I'm fine" acts as a mask or social shield reflecting the pressure today to always appear performing, serene and unmoved, hiding one's fragilities behind the two-dimensional surface of an automatic reply that anesthetizes empathy.
The incomunicability explodes precisely in the contrast between the bodily drama of the girl and the synthetic coldness of the message sent, which denies the evidence of suffering and turns the personal drama into a daily simulation in which no one is really willing to look beyond the façade. Slasky thus manages to fuse Rotari's chiaroscuro mastery with the psychological dynamics of the modern man who, in order not to scare or to avoid being excluded, prefers to inhabit a shared solitude where pain is continually suppressed and finally silenced by a reassuring and alienating cliché.
UNFRAMED
PHOTO FOR DEMONSTRATION ONLY
Slasky is an Italian digital artist; his works have been exhibited around the world, including at the Rijksmuseum in Amsterdam, and published in fashion, tattoo, and art magazines. He is known for his 360° digital technique, which he uses to create immersive and surreal images. His works explore themes such as nature, identity, and perception; he is an innovative and visionary artist contributing to defining the future of digital art.
"Art is not about representing new things, but representing them with novelty"
Latest Exhibitions
Parallax Art Fair
Kensington Town Hall
Hornton Street
London
W8 7NX
2024
Solo Exhibition
CONTEMPORARY VENICE
Palazzo Pisani-Revedin
S. Marco, 4013A , 30124 Venice, Italy
ARTLAB
Benjamin Eck Gallery
Munich, Germany
2021
Mia Fair
The informations Photography Art Fair Italy
Milan, Italy
Lausanne Art Fair
Beaulieu Lausanne
Booth 59
Swiss
Lille ArtUp 2021
Lille, France
StreetArt//UrbanArt
Legnano, Italy
2020
Woodward Gallery
WashYourHands Exhibition
New York City, NY
RedSheep Gallery
Work in Paper
Stockholm, Sweden
2019
Wopart Art Fair 2019 / Centro Esposizioni - Lugano, Swiss
Lang Leve Rembrandt
Rijks Museum Amsterdam
#salvagecollection
#BreakthroughArtCollection
Seller's Story
Slasky once again begins to crack open the barriers of time with a work that acts as a refined visual and conceptual short circuit. At the center of the composition emerges the magnetic and indissoluble gaze of a classical feminine portrait, imbued with the meticulous realism typical of the great northern European painting tradition of the Seventeenth Century. The austere dignity of the noblewoman, framed by a lavish frilled white lace collar, is however intercepted, severed, and partially concealed by a geometric pattern of white and black diagonal stripes.
This graphic intervention is not a mere aesthetic overlay, but a powerful statement of urban poetics. Slasky introduces a pattern that immediately evokes the visual codes of contemporary road signage, Optical Art, and modern street graphics. The geometric crossbar acts as a barrier or censoring filter that fragments the face: one half remains faithful to its museum and historical dimension, while the other half dissolves into the cold rationality of the abstract code.
The work thus interrogates the perception of identity in the digital age. The face of the past, guardian of an intimate and solemn historical memory, is reactivated and compelled to dialogue with the syncopated rhythms and the brazen geometries of contemporary culture. To underscore this dichotomy, the choice of frame is decisive: a sumptuous black Baroque profile in relief that envelops the work, transforming the jarring pop contrast into a sacred object of museum-design.
With his unmistakable technical and editorial deftness, Slasky does not destroy the antique, but re-encodes it, proving that classical art belongs not only to the past, but is a living matter, ready to be traversed and re-signified by the symbols of our present.
Translated by Google TranslateSlasky's work, which appropriates the famous eighteenth-century portrait by the Veronese painter Pietro Antonio Rotari, becomes in this reading a powerful metaphor of modern isolation and technological loneliness that characterizes contemporary society, in which the individual finds themselves trapped in a paradox of hyperconnectivity and deep emotional disconnection.
That figure, classically folded in on itself and eternally suspended in its silent crying, borrowed from the expressive universe of Rotari's "little heads," embodies the vulnerability of the human being faced with a pain that no longer finds a space for authentic listening but is dismissed and standardized through prepackaged formulas.
The blue speech bubble with the words "I'm fine" acts as a mask or social shield reflecting the pressure today to always appear performing, serene and unmoved, hiding one's fragilities behind the two-dimensional surface of an automatic reply that anesthetizes empathy.
The incomunicability explodes precisely in the contrast between the bodily drama of the girl and the synthetic coldness of the message sent, which denies the evidence of suffering and turns the personal drama into a daily simulation in which no one is really willing to look beyond the façade. Slasky thus manages to fuse Rotari's chiaroscuro mastery with the psychological dynamics of the modern man who, in order not to scare or to avoid being excluded, prefers to inhabit a shared solitude where pain is continually suppressed and finally silenced by a reassuring and alienating cliché.
UNFRAMED
PHOTO FOR DEMONSTRATION ONLY
Slasky is an Italian digital artist; his works have been exhibited around the world, including at the Rijksmuseum in Amsterdam, and published in fashion, tattoo, and art magazines. He is known for his 360° digital technique, which he uses to create immersive and surreal images. His works explore themes such as nature, identity, and perception; he is an innovative and visionary artist contributing to defining the future of digital art.
"Art is not about representing new things, but representing them with novelty"
Latest Exhibitions
Parallax Art Fair
Kensington Town Hall
Hornton Street
London
W8 7NX
2024
Solo Exhibition
CONTEMPORARY VENICE
Palazzo Pisani-Revedin
S. Marco, 4013A , 30124 Venice, Italy
ARTLAB
Benjamin Eck Gallery
Munich, Germany
2021
Mia Fair
The informations Photography Art Fair Italy
Milan, Italy
Lausanne Art Fair
Beaulieu Lausanne
Booth 59
Swiss
Lille ArtUp 2021
Lille, France
StreetArt//UrbanArt
Legnano, Italy
2020
Woodward Gallery
WashYourHands Exhibition
New York City, NY
RedSheep Gallery
Work in Paper
Stockholm, Sweden
2019
Wopart Art Fair 2019 / Centro Esposizioni - Lugano, Swiss
Lang Leve Rembrandt
Rijks Museum Amsterdam
#salvagecollection
#BreakthroughArtCollection
Seller's Story
Slasky once again begins to crack open the barriers of time with a work that acts as a refined visual and conceptual short circuit. At the center of the composition emerges the magnetic and indissoluble gaze of a classical feminine portrait, imbued with the meticulous realism typical of the great northern European painting tradition of the Seventeenth Century. The austere dignity of the noblewoman, framed by a lavish frilled white lace collar, is however intercepted, severed, and partially concealed by a geometric pattern of white and black diagonal stripes.
This graphic intervention is not a mere aesthetic overlay, but a powerful statement of urban poetics. Slasky introduces a pattern that immediately evokes the visual codes of contemporary road signage, Optical Art, and modern street graphics. The geometric crossbar acts as a barrier or censoring filter that fragments the face: one half remains faithful to its museum and historical dimension, while the other half dissolves into the cold rationality of the abstract code.
The work thus interrogates the perception of identity in the digital age. The face of the past, guardian of an intimate and solemn historical memory, is reactivated and compelled to dialogue with the syncopated rhythms and the brazen geometries of contemporary culture. To underscore this dichotomy, the choice of frame is decisive: a sumptuous black Baroque profile in relief that envelops the work, transforming the jarring pop contrast into a sacred object of museum-design.
With his unmistakable technical and editorial deftness, Slasky does not destroy the antique, but re-encodes it, proving that classical art belongs not only to the past, but is a living matter, ready to be traversed and re-signified by the symbols of our present.
Translated by Google TranslateDetails
Sold by
Direct from the artist
Edition
Limited edition
Artist
Slasky
Title of artwork
I’m Fine
Technique
Giclée
Signature
Hand signed
Country of origin
Italy
Year
2024
Condition
Excellent condition
Height
60 cm
Width
40 cm
Style
Rococo
Sold with frame
No
Period
2020+
