LA STAMPA : In mostra le incisioni di Verdaguer

La Stampa ,Italia, Venerdi 21 aprile 2017

▹ LA STAMPA: di giornalista Daniele Prato “In mostra le incisioni di Verdaguer innamorato della colline ovadesi  ” –   Venerdi 21 aprile 2017  ▹ Sale d’Arte, Via Niccolò Machiavelli, 13 , Citta’ di Alessandria, Italia Mostra : 21 aprile – 27 maggio, 2017 ▹ 

 ▹ LA STAMPA: [Italian’s newspaper] by the journalist Daniele Prato ”  Engravings’ exhibition  of Verdaguer in loved with the Ovadesi’s hill “- Friday April 21, 2017  ▹Sale d’Arte, City of Alessandria, Italy. ▹  Exhibition : April 21st – May 27, 2017▹ 

▹ LA STAMPA: [ journal italien] du journaliste Daniele Prato ” En exposition les gravures  de Verdaguer amoureux de la colline d’Ovadesi “-  Vendredi 21 avril 2017 ▹  Sale d’Arte, Ville d’Alessandria, Italie. Exposition  du 21 avril  au  27 mai, 2017 ▹

Ritorno al bosco /115/

Per saperne di più ( more to read …à lire…)

Raymond Verdaguer biografia di Elena Patarini

RVrlogo2

original linoleum cut and woodcut > linogravure originale et gravures sur bois > linóleo grabado original > incisione originale > Copyright © Raymond Verdaguer 2017

Da New York al Monferrato sguardi – mostra di incisioni

locantina/poster/affiche by Sando Zapparrata

▹ INVITO INAUGURATION a la mia mostra di incisioni ” Da New York al Monferrato sguardi ” ▹   Venerdi 21 aprile – ore 17,30 ▹ Sale d’Arte, Via Niccolò Machiavelli, 13 , Citta’ di Alessandria, Italia Mostra : 21 aprile – 27 maggio, 2017 ▹ 

 ▹ OPENING INVITATION a mon exposition  exhibition of engravings “Views from New York to Monferrato” ▹ Friday April 21 – 5:30 pm  ▹Sale d’Arte, City of Alessandria, Italy. ▹  Exhibition : April 21st – May 27, 2017▹ 

▹ INVITATION au VERNISSAGE de  mon exposition de gravures ▹ “Regards de New York au Monferrato “▹ Vendredi 21 avril – 17h30 ▹  Sale d’Arte, Ville d’Alessandria, Italie.Exposition  du 21 avril  au  27 mai, 2017 ▹

invito/brochure di Sando Zapparrata
invito/brochure di Sando Zapparrata

Note biografiche e presentazione

“Raymond Verdaguer, nato tra i Pirenei e trapliantato nella Grande Mela, non è solo un artista ma un illustrare di fama internationale.

Dal 2003 collabora con il New York Times, dal 2002 con Harper’s Magazine, in curriculum ha anche los Angeles Times, San Francisco Chronicle, Boston Globe, Le Monde, Liberation, International Herald Tribune, El Mundo.

La serie “A” dell’informazione si rivolge a Raymond Verdaguer per condensare in pochi segni, dal forte impatto visivo ed emotivo, temi etici e grande cronaco e l’artista si esprime, con tratti netti, evocativi, incisi prima sul linoleum – sua tecnica simbolo – e poi trasferiti su carta con l’inchiostro e la pressa.

Guerre, violence, inquinamento, ambienta, un bagaglio pesante che a Casaleggio Boiro, suo luago di villeggiatura non ha portato.

Dice che qui, tra i silenzi e il verde dell’Appennino, ha ritrovato l’essenza stessa dell’arte: l’osservazione, che precede la realizzazione dell’opera.

Sulle spalle, uno zaino con pochi strumenti, carta di riso, inchiostro e colori, per imprimere nelle sue opere non solo i paesaggi ma anche sensazioni e stati d’animo. Trae ispirazione dai boschi e dalla quiete, dai castelli e dalle chiese. 

Trasforma in uno studio a cielo aperto i paesaggi, le gole affacciate sul Gorzente, la fonte e la Madonnina ai piedi del borgo antico.

Nella mostra ‘Da New York al Monferrato Sguardi” la tecnica usata per i lavori esposti proviene più dalla scrittura che della pittura o dal disegno. L’artista si rifà all’antica tecnica calligrafica asiatica, anche se con strumenti moderni. Utilizza la carta di riso che ha il vantaggio di essere leggerissima e di avere un colore naturale, non sbiancato come la carta normale. Una tecnica antica e semplice, ma difficile da perfezionare perché non ammette errori e cancellature.”

invito/brochure di Sando Zapparrata

 ▹ City or Nature?

Not wishing to borrow the language of a scientist, a journalist, an academic or a lawyer, with such a motto as “the proof, but nothing but the proof “, but simply presenting my ‘experiencing’ from my own observation through the medium of an art work. Seeing with my own eyes, putting my own senses at work we the hope to trigger a ‘response’, what better ‘understanding’ and sharing one can get from ‘being alive’? [You maybe tag it, right or wrong, it hardly matters, its your experience with your own senses and your own way of expressing it that counts.] This is, in many ways, what it takes being committed as an artist.

Ritorno al bosco /101/

What ever in a situation of populated biggest cities or in the most remote wildness or country side, I ask my feet to transport me, my shoulders to hold my backpack, my fears to let me move forward …so I could reach any ‘site’ that will allow me to start a ‘conversation’ with what confronts me – dedicated not to return home without carrying back the ‘feelings’ from my ‘visit’ … ‘visitor’, always, as I dismay ‘tourist’!

Ritorno al bosco /103/

My exhibitions intend to share this moments with others, what I have ‘came out’ with from my ‘site’ visits. But beyond the ’emotion’ remains the impact, how it has transformed me ? Having cross the Andes, over 45 y ago, still resonates in me and shapes my today behavior … and what to make of lacking oxygen at several 1000 feet high or at level zero in the center of Manhattan? Like if live was an ongoing struggle between a surplus or a lacking – one being always the negative [in the ‘picture’] of the other, and by so doing creating the ‘image’ of our lives.

Ritorno al bosco /116/

City versus Nature, shifting opposites poles, I let the viewer free of making choice of which from the two world he/she wish to belong to…When ever in the city or in the country side.

The Williamsburg Bridges’s woodcuts /8/

▹ Ville ou Nature?

Je ne désire pas emprunter le langage d’un scientifique, journaliste, universitaire ou  avocat, avec pour slogan, «la preuve, et rien d’autre que la preuve”, mais simplement présenter l’ «expérience» de ma propre observation par l’intermédiaire de mon travail. En voyant de mes propres yeux, en activant mes propres sens, dans l’espoir de trouver une «réponse». Quel meilleur «enseignement » et partage peut on souhaiter du fait d’ «être en vie»? [Vous pouvez ou ne pas être d’accord, bien ou mal, peu importe, à mes yeux, c’est expérience de ses propres sens et sa propre façon de l’exprimer qui compte.] Ceci est (ou fut), à bien des égards, ce qu’il est requis pour demeurer un artiste entant que tel.

The Williamsburg Bridges’s woodcuts /31/

Que je sois dans le contexte des plus grandes villes surpeuplées ou dans un lieu sauvage ou une campagne isolée, je demande à mes pieds me transporter, à mes épaules de soutenir mon sac à dos, à mes craintes de me laisser aller de l’avant … afin que je puisse parvenir à un «site» me permettrant de commencer une «conversation» avec “le” monde qui me confronte – dédier à ne pas rentrer chez moi bredouille, sans rapporter de nouveaux «sentiments» de ma «visite» … «visiteur», toujours, «touriste» hors de question!

The Williamsburg Bridges’s woodcuts /36/

Mes expositions se voudraient de partager ces moments avec autres, ce qu’il en est “sorti” de mes visites de «lieux ». Mais au-delà de l’ «émotion» reste l’impact, la façon dont cela m’a transformé? Ayant traversé les Andes, il y a plus de 45 ans, résonne encore en moi et façonne mon comportement aujourd’hui … et que penser du manquer d’oxygène à plusieurs mille pieds de haut ou au niveau zéro dans le centre de Manhattan? Comme si la vie était une lutte permanente entre un surplus ou un manque – l’un étant toujours le négatif [comme dans une «gravure»] de l’autre, et ce faisant la création de «l’image» de nos vies.

The Williamsburg Bridges’s woodcuts /27/

Ville ou Nature? Mouvements de pôles contraires, je laisse le spectateur libre de faire son choix auquel des deux mondes il ou elle souhaite appartenir …

▿▿▿

riciclare – recycling

I make a stand working always on site – hardly from studies and never from documents – I engraved-direct right on the spot.

When in the city, where all kinds of unwanted materials resulting from over consumerism are available, left on the streets. I recycled and experiment on whatever material may have a chance being engraved and printed.

Recycling, if not giving an aesthetic solution to the process, may at least give it more ‘authenticity’. Therefore, ‘cutting’ does not induce to more material consumption but rather give a true transformation to it.

What is given for ‘trash’ gets a second chance of ‘use’. The most hugely panels from the most inconceivable cheapest furniture may very well change into an image of the city, the same city rejecting it.

Beside, from a creative point of view, there is no such a thing of having fear messing up a material barely save from destruction to start with…it gives the unique opportunity to express oneself with the greatest confidence and freedom.

portrait by Mike Kobal in his studio

 recyclage

Je donne la priorité à travailler sur le motif  – très rarement à partir d’études et encore moins de documents – je procède par graver directement sur place. Lorsque je me trouve dans la rue, en ville, où toutes sortes de matériau indésirables résultant de surconsommation sont disponibles, je recycle et expérimente sur tout ce qui peut offrir une possibilité  d’être gravé et imprimé.

Le recyclage, si il n’arrive pas toujours nécessairement à donner répondre esthétique du processus,  peut au moins offrir plus d’«authenticité». Par conséquent, «graver» ne stimule plus la consommation de nouveaux matiériau, mais plutôt permet une véritable transformation ce ceux classés inutiles.

Ce qui est destiné à être jeté à la ‘poubelle’ obtient ainsi une seconde chance de «vie». Les panneaux les plus abominables venant de meubles ‘bon marché’ les plus inconcevables peuvent très bien se transforme en gravures représentant la ville, la même ville qui les rejéte.

De plus, d’un point de vue créatif, il n’y a plus de raison d’avoir peur de gâcher un matériau tout juste sauver de la destruction d’un camion poubelle … cela donne l’occasion unique de s’exprimer avec la plus grande confiance et liberté…car il n’y a rien à ‘perdre’ ! Et n’avoir rien à perdre, c’est plutôt bien pour l’art et l’artiste contemporain constamment sous la brèche.

▿▿▿

“Sale d’Arte, Citta di Alessandria”

Da New York al Monferrato al Monferrato Sguardi/Mostra
Da New York al Monferrato al Monferrato Sguardi/Mostra
Da New York al Monferrato al Monferrato Sguardi/Mostra
Da New York al Monferrato al Monferrato Sguardi/Mostra
Da New York al Monferrato al Monferrato Sguardi/Mostra

Storia del museo:
Le Sale d’Arte comunali sono oggi aperte al pubblico nei nuovi locali ristrutturati dell’edificio che ha ospitato fin dalla seconda metà dell’Ottocento, il Museo, la Pinacoteca civica e la Biblioteca di Alessandria.

Il percorso museale rinnovato negli arredi e nelle strutture espositive, intende proporre al pubblico alcune delle più importanti opere e oggetti d’arte appartenenti alle collezioni del Museo e della Pinacoteca civica. La nuova sede suddivisa in quattro sezioni espositive oltre a proporre una riflessione sull’identità civica della città che vede le sue radici nel Medioevo e nella civiltà comunale, accoglie lo splendido ciclo di affreschi ispirati alle storie di Artù. L’Ottocento rivisitato attraverso il fascino della pittura di Giovanni Migliara e il Novecento rappresentato attraverso l’opera dell’alessandrino Alberto Caffassi, anticipano l’esposizione di opere d’arte contemporanea confluite nelle collezioni a partire dagli anni ‘20. Quest’ultima sala viene inoltre utilizzata per le mostre temporanee.

” Art Space, city of Alessandria”

History of the museum:
The  Sale d’Arte are now open to the public in the new renovated premises of the building that has housed since the second half of the nineteenth century, the Museum, the Municipal Art Gallery and the Library of Alexandria.
The museum is renovated with new furniture and exhibition facilities, intends to offer the public some of the most important works of art and objects from the collections of the Museum and Civic Art Gallery. The new site is divided into four exhibition sections in addition to proposing a reflection on civic city that sees its roots in the Middle Ages and in the communal society, welcomes the splendid frescoes inspired by the stories of Arthur cycle. The nineteenth century revisited through the charm of painting by Giovanni Migliara and the twentieth century represented through the work of the Alexandrian Alberto Caffassi, anticipating the exhibition of contemporary works of art ended up in the collections since the early 20’s. This last room is also used for temporary exhibitions.

“Salle des Arts, ville d’ Alessandria”

Histoire du musée:
La Sale d’Arte est maintenant ouverts au public dans les nouveaux locaux rénovés de l’immeuble qui abrite depuis la seconde moitié du XIXe siècle, le musée, la galerie d’art municipale et la Bibliothèque d’Alexandrie.
Le musée rénové avec de nouvelles installations de meubles et d’ objets d’art, offre au public quelques-unes des œuvres les plus importantes de l’art et des objets provenant des collections du Musée et Civic Art Gallery. Le nouvel espace est divisé en quatre sections d’exposition en plus de proposer une réflexion sur la ville civique qui voit ses racines au Moyen Age et dans la société commune, accueille les splendides fresques inspirées par les histoires du cycle Arthur. Le dix-neuvième siècle revisité par le charme de la peinture de Giovanni Migliara et le vingtième siècle représenté par l’œuvre de l’Alexandrin Alberto Caffassi, anticipant l’exposition d’œuvres d’art contemporain a fini dans les collections depuis le début des années 20. Cette dernière salle est également utilisée pour des expositions temporaires.

Desidero ringraziare il Comune di la Citta’ di Alessandria per aver ospitato la mia mostra e per collaborazione e l’amicizia dimostrata nell’ organizzazione della stessa. Grazie Cristina, Elizabetta, Cristiana, Sandro e a tutti mio caro amici!

I want to thank the Commune of the City of Alessandria [Italia] for hosting my exhibition and for its friendship collaboration with its organization. Special thanks toCristina, Elizabetta, Cristiana, Sandro, as well as all my dear friends.

Je remercie la Commune de la ville d’Alessandria [Italie] pour m’ inviter à exposer mes oeuvres, organiser l’événement et leur amicale collaboration. Sans oublier Cristina, Elizabetta, Cristiana, Sandro et tous mes chers amis.

portrait by Mike Kobal in his studio

” L’artista dedica questa mostra a tutti gli amici italiani che dall’estate 2014 ne hanno favorito il lavaro con la loro generosa accoglienza, contribuendo a farla un po’ “la loro mostra”.

Per saperne di più ( more to read …à lire…)

Raymond Verdaguer biografia di Elena Patarini

RVrlogo2

original linoleum cut and woodcut > linogravure originale et gravures sur bois > linóleo grabado original > incisione originale > Copyright © Raymond Verdaguer 2015

Mike Kobal 2nd Visit to My NYC Studio

portrait of Mike Kobal by me in my studio

▹ Austrian Artist/Photographer Mike Kobal @globalshutter came to visit my studio this afternoon. I humbly modeled for portraits … Mike is a top noch artist with an amazing capacity of creativity while using any kind of space in any situation. It is fascinating to see what a true experienced professional can deliver compared to anybody now a days with a camera in her/his hand …! Thank you Mike for your great work and for standing out.

portrait of Mike Kobal by me in my studio

Portraits by Mike Kobal 

portrait by Mike Kobal in my studio
portrait by Mike Kobal in my studio
portrait by Mike Kobal in my studio

View Mike Kobal 1st studio visit in July 2014: Video

Follow my daily posting in Instagram @raimonart

original linoleum cut and woodcut > linogravure originale  et gravures sur bois > linóleo grabado original > incisione originale > Copyright © Raymond Verdaguer 2017

Biennale Internazionale “Grafica ed Ex Libris” – invitati a partecipare

▹  Invitati a partecipare alla Biennale Internazionale di Casale Monferrato / 11 marzo – 17 aprile 2017 / Inaugurazione sabato 11 marzo 2017, ora 17:00  / Castello dei Paleologi e del Monferrato =“Grafica ed Ex Libris” 

cartolina – carton d’invitation – invitation card – ” Grafica ed Ex Libris “

▹ Invited to participate in the biennial International Biennial of Casale Monferrato / March 11  to April 17, 2017 /  Opening: Saturday March 11, 2017 at 5 :00 pm 

Invité à participer à la Biennale Internationale de Casale MonferratoDu 11 mars au 17 avril 2017 / Vernissage samedi 11 mars 2017, 17 h /  

▹ INCISONI esposte /exhibited engravings / gravures exposées 

Incisioni esposte = exhibited engravings = gravures exposés
Incisioni esposte = exhibited engravings = gravures exposés
Incisioni esposte = exhibited engravings = gravures exposés
Incisioni esposte = exhibited engravings = gravures exposés
Incisioni esposte = exhibited engravings = gravures exposés
Incisioni esposte = exhibited engravings = gravures exposés

▹ LAVORO svolto sul posto / Work done on site, New York. / Travaux réalisés sur place / New York.

Lavoro svolto sul posto = Work done on site, New York. = Travaux réalisés sur place – New York.
Lavoro svolto sul posto = Work done on site, New York. = Travaux réalisés sur place – New York.
Lavoro svolto sul posto = Work done on site, New York. = Travaux réalisés sur place – New York.
Lavoro svolto sul posto = Work done on site, New York. = Travaux réalisés sur place – New York.
Lavoro svolto sul posto = Work done on site, New York. = Travaux réalisés sur place – New York.

▹  Organizzato da Gruppo Arte Casale , Associazione culturale, Casale Monferrato (AL) – Italia

▹ Estratto dal catalogo :Anche Casale Monferrato ha la sua Biennale

Molte città importanti hanno la loro Biennale; così anche Casale Monferrato, grazie al Gruppo Arte Casale e alla duratura collaborazione con il Comune, conta oggi la XIII edizione della Biennale di Grafica ed Ex-Libris.

L’ampia e internazionale partecipazione rende questo appuntamento una finestra, di sguardo e formazione, sul mondo delle incisioni di ieri e di oggi. Protagonista l’atto intimo e creativo per un collezionista che si traduce in segno, un segno che esprime la relazione di amore e custodia che l’uomo ha con l’oggetto per lui più prezioso: il libro.

Nelle stanze del secondo piano del Castello dei Paleologi e del Monferrato trova luogo un mondo animato da tradizionali tecniche grafiche quali xilografia, acquaforte, acquatinta, puntasecca, maniera nera, litografia, linoleografia, affiancate dallo studio di nuove sperimentazioni quali l’incisione su plexiglass, la fotografia, l’elaborazione al computer. A restituire il calore dello studio una sezione dedicata agli strumenti da lavoro dell’incisore e stampatore: matrici lignee e calcografiche, bulini e sgorbie, inchiostri, rulli, caratteri da stampa.

In questo contesto puntuale si sviluppa un percorso espositivo tematico, attraverso cui si mostrano più di ottanta artisti, con produzioni contemporanee, legati al territorio e provenienti da ogni dove, cui fanno da corollario rari Ex Libris del Settecento, Ottocento e del primi Novecento. Una mostra costruita con attenzione e sapienza, da appassionati di tutto il mondo, per appassionarci a nostra volta. Un ventaglio di espressioni artistiche dove ognuno può trovare un suo proprio preferito ma anche, e soprattutto, comprendere il valore e la ricchezza di questa disciplina artistica.

Come da tradizione, la Biennale è dedicata a un grande maestro di questa arte che, in una sezione monografica, arricchisce il percorso espositivo con un excursus storico. Quest’anno l’onore va a Emilio Mantelli, anticipando di un anno il centenario dalla sua scomparsa, aprendone le celebrazioni e confermando così l’importante contributo che l’appuntamento di Casale Monferrato apporta a livello internazionale nel panorama dedicato al tema.

Non resta che ringraziare il Gruppo Arte Casale, tutti gli artisti, i collezionisti e le istituzioni che rendono possibile questo evento culturale, ed augurare ad ognuno di noi di lasciarsi stupire da questo mondo immaginifico.

Titti Palazzetti, Sindaco di Casale Monferrato – Daria Carmi,  Assessore alla Cultura “

▹ Excerpt from the catalog: “Casale Monferrato has its Biennale too.

Many important towns have their Biennial; so Casale Monferrato, thanks to Art Group Casale and his lasting partnership with the City, has the XIII edition of the Biennial “Graphic and Ex-Libris”.

The wide international participation makes of this event a window, of look and training, about the world of engravings of yesterday and today. Starring is the intimate and creative act to a collector that results in a sign, a sign that expresses the relationship of love and custody that a man has with the most valuable object for him: the book.

In the rooms of the second floor of Castle of Paleologi and Monferratois placed a world enlivened by traditional graphic techniques such as woodcut, etching, aquatint, drypoint, mezzotint, lithography, linocut, accompanied by the study of new experiments such as the engraving of plexiglass, photography, drawing on the computer. 

To return the heat of the study there is a section about working tools of the engraver and printer: wooden matrices and intaglio, chisels and gouges, inks, rollers, printing characters.

In this context a thematic exhibition is developed, through which more than eighty artists are showed with contemporary productions, linked to the territory and coming from everywhere to which are jointed rare Ex Libris of the eighteenth century, nineteenth and early twentieth centuries. A show built with care and wisdom from fans around the world to get passionate in our turn. A range of artistic expressions where everyone can find its own favorite but also, and above all, understand the value and the richness of this artistic discipline.

As usual the Biennial is dedicated to a great master of this art that, in a monographic section, enriches the exhibition with a historical overview. This year the honor goes to Emilio Mantelli, anticipating by one year the centenary of his death, by opening the celebrations and so confirming the important contribution that the appointment of Casale Monferrato brings internationally about this matter.

All that remains is to thank the Art Group Casale, all Artists, Collectors and Institutions that make possible this cultural event, and to wish to each of us to be amazed by this imaginative world.

Titti Palazzetti, Mayor of Casale Monferrato City . Daria Carmi “

Desidero ringraziare Pio Carlo Barola per invitati a partecipare alla Biennale Internazionale “Grafica ed Ex Libris”, Gianpaolo Cavalli, Antonio Barbato, tutti gli organizzatori della mostra e la Citta’ di Casale Montferrato.

( I wish to thank Pio Carlo Barola for inviting me to participate in the International Biennale “Graphics and Ex Libris”, also Gianpaolo Cavalli, Antonio Barbato and all the organizers of the exhibition and the City of Casale Montferrato / Je tiens à remercier Pio Carlo Barola pour m’avoir invité à participer à la Biennale internationale «Graphics et Ex Libris”, ainsi que  Gianpaolo Cavalli, Antonio Barbato,  tous les organisateurs de l’exposition et la Ville ‘Casale Montferrato.)

Pio Carlo Barola

Fotos della Biennale/ Photos de la Biennale/ Biennal’s photos

foto di Pio Carlo Barola
foto di Pio Carlo Barola

original linoleum cut and woodcut > linogravure originale  et gravures sur bois > linóleo grabado original > incisione originale > Copyright © Raymond Verdaguer 2017

Enter The Ford – Lost fiction by James Agee – Series of linocuts

▹ From an assignment commissioned almost 10 years ago. Published by Harper’s magazine, New York. Dec, 2007.

▹ Text from a lost manuscript of the great American classic ” Death in the Family “. A writer autographical novel expressing his memories as it felt them as a child.

Enter The Ford – Lost fiction by James Agee – linocut published by Haper’s magazine.
Enter The Ford – Lost fiction by James Agee – linocut published by Haper’s magazine.
Enter The Ford – Lost fiction by James Agee – linocut published by Haper’s magazine.
Enter The Ford – Lost fiction by James Agee – linocut published by Haper’s magazine.
Enter The Ford – Lost fiction by James Agee – linocut published by Haper’s magazine.
Enter The Ford – Lost fiction by James Agee – linocut published by Haper’s magazine.
Enter The Ford – Lost fiction by James Agee – linocut published by Haper’s magazine.
Enter The Ford – Lost fiction by James Agee – linocut published by Haper’s magazine.
Enter The Ford – Lost fiction by James Agee – linocut published by Haper’s magazine.
Enter The Ford – Lost fiction by James Agee – linocut published by Haper’s magazine.
Enter The Ford – Lost fiction by James Agee – linocut published by Haper’s magazine.
Enter The Ford – Lost fiction by James Agee – linocut published by Haper’s magazine.
Enter The Ford – Lost fiction by James Agee – linocut published by Haper’s magazine.
Enter The Ford – Lost fiction by James Agee – linocut published by Haper’s magazine.
Enter The Ford – Lost fiction by James Agee – linocut published by Haper’s magazine.
Enter The Ford – Lost fiction by James Agee – linocut published by Haper’s magazine.

James Agee describes a true storie, throught the eyes of a child.  His father buying proudly one of the first manufacturated automobile by Ford and getting killed in a tragic accident. Not knowing, fate would also take his life in an accident as well…

▹ original linoleum cut and woodcut > linogravure originale  et gravures sur bois > linóleo grabado original > incisione originale > Copyright © Raymond Verdaguer 2017

Los caminos de la inmigracion – commissioned linocuts 2005-06

▹  Published by: El Ciervo – revista mensual – Barcelona, diciembre 2005 / magazine mensuel – Barcelone, décembre 2005 / Monthly magazine – Barcelona, December 2005.

El Ciervo, revista , Barcelona 2005 – Linoleum cut
El Ciervo, revista , Barcelona 2005 – pencil drawing

▹  Published by: passages d’encres – art/littérature revue. Paris, janvier 2006 revista mensuale, arte y literatura. París, enero de 2006 / Monthly magazine of art and literature, Paris, January 2006.

passage d’encres, revue. Paris, 2006 – [ Linoleum cut ]
passage d’encres, revue. Paris, 2006 [ pencil drawing ]
passage d’encres, revue. Paris, 2006 [ linoleum cut ]
passage d’encres, revue. Paris, 2006 [ pencil drawing ]
“Immigration” is not a new phenomena, it has certainly be such since life appears on earth. The animal kingdom would not have survived, and will not, without it. It is part of the essence of generating life.

But it has never been smooth, male roe deer in Piedmont, Italy, have ways to define their territory by rumbing a glad located between their horns agains a tree. If an other male roe deer goes beyond it, it’s war!

So we should not be surprise of what humans have “done” for thousands of years – tracing ‘territories’,  to be endlessly reshaped …with all the horrors that come with it during the process. No doubts that modern times have proven to become far more ‘sophisticated’ on this matter,  computers helping , the risk of worsening  is even greater.

12  ago I was commissioned an illustration for the cover of  the Spanish revue” El Ciervo” [ precisely  translating by :The Deer]. The following year I was commissionned 2 illustrations for the French revue “passage d’encres”…I am well aware I did not solve the problem, rather I took a chance  to express it.

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original linoleum cut and woodcut > linogravure originale  et gravures sur bois > linóleo grabado original > incisione originale > Copyright © Raymond Verdaguer 2017

Cutting into 2017 – New Year Card

▹  Jan. 1st 2017 –  lino block  in progress in  a frozen French country 

2017 cutting linoleum block in progress
2017 cutting linoleum block in progress

The urgent need to warming up combine with having to face an other year of decision making is “splitting ” my senses…

▹  Can’t figure the image out? Check the mirror detail of it.

2017 cutting linoleum block in progress [ mirror image]
2017 cutting linoleum block in progress [ mirror image]
▹  To be printed soon ….

 

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original linoleum cut and woodcut > linogravure originale  et gravures sur bois > linóleo grabado original > incisione originale > Copyright © Raymond Verdaguer 2017

Passe Muraille – Magazine Cover

▹ Passe Muraille # 62 – Cover [ Couverture, Copertina ] – French magazine dedicated to prison and incarceration issues.

 Passe Muraille # 62 - Cover [ Couverture, Copertina ]
Passe Muraille # 62 – Cover [ Couverture, Copertina ]
▹  My contributing donation linoleum cut. Paris. Published October2016

First publication of my linocut by The New York Times ( ” The Lingering Injustice of Attica” Sept. 9, 2011)🔹

rvlino-atticajail

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original linoleum cut and woodcut > linogravure originale  et gravures sur bois > linóleo grabado original > incisione originale > Copyright © Raymond Verdaguer 2016

Della Grande Mela all’Alto Monferrato ▹ mostra di incisioni

mostra di incisioni - Loggia di San Sebastiano - Ovada - Italia
mostra di incisioni – Loggia di San Sebastiano – Ovada – Italia

▹ ” Percorsi d’autore – della Grande Mela all’Alto Monferrato ▹  mostra di incisioni  ” ▹ 30 settembre,  1 e  2 ottobre 2016 ▹ Loggia di San Sebastiano, Citta’ di Ovada, Italia.

mostra di incisioni - Loggia di San Sebastiano - Ovada - Italia
mostra di incisioni – Loggia di San Sebastiano – Ovada – Italia

 ▹ “Paths of an Author – from the Big Apple to the Alto Monferrato” ▹ exhibition of engravings ▹  September 30,  October 1& 2,  2016,▹ Loggia di San Sebastiano – Citta’ di Ovada, Italy.

▹ “Parcours d ‘auteur  – de la Grande Pomme à l’Alto Monferrato “▹ exposition de gravures  ▹ 30 Septembre,  1 et 2 Octobre 2016 ▹ Loggia di San Sebastiano – Citta’ di Ovada, Italie.

mostra di incisioni - Loggia di San Sebastiano - Ovada - Italia
mostra di incisioni – Loggia di San Sebastiano – Ovada – Italia
mostra di incisioni - Loggia di San Sebastiano - Ovada - Italia
mostra di incisioni – Loggia di San Sebastiano – Ovada – Italia
mostra di incisioni - Loggia di San Sebastiano - Ovada - Italia
mostra di incisioni – Loggia di San Sebastiano – Ovada – Italia
mostra di incisioni - Loggia di San Sebastiano - Ovada - Italia
mostra di incisioni – Loggia di San Sebastiano – Ovada – Italia
mostra di incisioni - Loggia di San Sebastiano - Ovada - Italia
mostra di incisioni – Loggia di San Sebastiano – Ovada – Italia
mostra di incisioni - Loggia di San Sebastiano - Ovada - Italia
mostra di incisioni – Loggia di San Sebastiano – Ovada – Italia
mostra di incisioni - Loggia di San Sebastiano - Ovada - Italia
mostra di incisioni – Loggia di San Sebastiano – Ovada – Italia
mostra di incisioni - Loggia di San Sebastiano - Ovada - Italia
mostra di incisioni – Loggia di San Sebastiano – Ovada – Italia
mostra di incisioni - Loggia di San Sebastiano - Ovada - Italia
mostra di incisioni – Loggia di San Sebastiano – Ovada – Italia
mostra di incisioni - Loggia di San Sebastiano - Ovada - Italia
mostra di incisioni – Loggia di San Sebastiano – Ovada – Italia
mostra di incisioni - Loggia di San Sebastiano - Ovada - Italia
mostra di incisioni – Loggia di San Sebastiano – Ovada – Italia
mostra di incisioni - Loggia di San Sebastiano - Ovada - Italia
mostra di incisioni – Loggia di San Sebastiano – Ovada – Italia
mostra di incisioni - Loggia di San Sebastiano - Ovada - Italia
mostra di incisioni – Loggia di San Sebastiano – Ovada – Italia
mostra di incisioni - Loggia di San Sebastiano - Ovada - Italia
mostra di incisioni – Loggia di San Sebastiano – Ovada – Italia
mostra di incisioni - Loggia di San Sebastiano - Ovada - Italia
mostra di incisioni – Loggia di San Sebastiano – Ovada – Italia
mostra di incisioni - Loggia di San Sebastiano - Ovada - Italia
mostra di incisioni – Loggia di San Sebastiano – Ovada – Italia
mostra di incisioni - Loggia di San Sebastiano - Ovada - Italia
mostra di incisioni – Loggia di San Sebastiano – Ovada – Italia
mostra di incisioni - Loggia di San Sebastiano - Ovada - Italia
mostra di incisioni – Loggia di San Sebastiano – Ovada – Italia
mostra di incisioni - Loggia di San Sebastiano - Ovada - Italia
mostra di incisioni – Loggia di San Sebastiano – Ovada – Italia
mostra di incisioni - Loggia di San Sebastiano - Ovada - Italia
mostra di incisioni – Loggia di San Sebastiano – Ovada – Italia
mostra di incisioni - Loggia di San Sebastiano - Ovada - Italia
mostra di incisioni – Loggia di San Sebastiano – Ovada – Italia
mostra di incisioni - Loggia di San Sebastiano - Ovada - Italia
mostra di incisioni – Loggia di San Sebastiano – Ovada – Italia
mostra di incisioni - Loggia di San Sebastiano - Ovada - Italia
mostra di incisioni – Loggia di San Sebastiano – Ovada – Italia
mostra di incisioni - Loggia di San Sebastiano - Ovada - Italia
mostra di incisioni – Loggia di San Sebastiano – Ovada – Italia
mostra di incisioni - Loggia di San Sebastiano - Ovada - Italia
mostra di incisioni – Loggia di San Sebastiano – Ovada – Italia
mostra di incisioni - Loggia di San Sebastiano - Ovada - Italia
mostra di incisioni – Loggia di San Sebastiano – Ovada – Italia
mostra di incisioni - Loggia di San Sebastiano - Ovada - Italia
mostra di incisioni – Loggia di San Sebastiano – Ovada – Italia
mostra di incisioni - Loggia di San Sebastiano - Ovada - Italia
mostra di incisioni – Loggia di San Sebastiano – Ovada – Italia
mostra di incisioni - Loggia di San Sebastiano - Ovada - Italia
mostra di incisioni – Loggia di San Sebastiano – Ovada – Italia
mostra di incisioni - Loggia di San Sebastiano - Ovada - Italia
mostra di incisioni – Loggia di San Sebastiano – Ovada – Italia
mostra di incisioni - Loggia di San Sebastiano - Ovada - Italia
mostra di incisioni – Loggia di San Sebastiano – Ovada – Italia
mostra di incisioni - Loggia di San Sebastiano - Ovada - Italia
mostra di incisioni – Loggia di San Sebastiano – Ovada – Italia
mostra di incisioni - Loggia di San Sebastiano - Ovada - Italia
mostra di incisioni – Loggia di San Sebastiano – Ovada – Italia
mostra di incisioni - Loggia di San Sebastiano - Ovada - Italia
mostra di incisioni – Loggia di San Sebastiano – Ovada – Italia
mostra di incisioni - Loggia di San Sebastiano - Ovada - Italia
mostra di incisioni – Loggia di San Sebastiano – Ovada – Italia
mostra di incisioni - Loggia di San Sebastiano - Ovada - Italia
mostra di incisioni – Loggia di San Sebastiano – Ovada – Italia
mostra di incisioni - Loggia di San Sebastiano - Ovada - Italia
mostra di incisioni – Loggia di San Sebastiano – Ovada – Italia
mostra di incisioni - Loggia di San Sebastiano - Ovada - Italia
mostra di incisioni – Loggia di San Sebastiano – Ovada – Italia
mostra di incisioni - Loggia di San Sebastiano - Ovada - Italia
mostra di incisioni – Loggia di San Sebastiano – Ovada – Italia
mostra di incisioni - Loggia di San Sebastiano - Ovada - Italia
mostra di incisioni – Loggia di San Sebastiano – Ovada – Italia

 

Città o Natura? ▹ City or Nature?

Not wishing to borrow the language of a scientist, a journalist, an academic or a lawyer, with such a motto as “the proof, but nothing but the proof “, but simply presenting my ‘experiencing’ from my own observation through the medium of an art work. Seeing with my own eyes, putting my own senses at work we the hope to trigger a ‘response’, what better ‘understanding’ and sharing one can get from ‘being alive’? [You maybe tag it, right or wrong, it hardly matters, its your experience with your own senses and your own way of expressing it that counts.] This is, in many ways, what it takes being committed as an artist.

What ever in a situation of populated biggest cities or in the most remote wildness or country side, I ask my feet to transport me, my shoulders to hold my backpack, my fears to let me move forward …so I could reach any ‘site’ that will allow me to start a ‘conversation’ with what confronts me – dedicated not to return home without carrying back the ‘feelings’ from my ‘visit’ … ‘visitor’, always, as I dismay ‘tourist’!

My exhibitions intend to share this moments with others, what I have ‘came out’ with from my ‘site’ visits. But beyond the ’emotion’ remains the impact, how it has transformed me ? Having cross the Andes, over 45 y ago, still resonates in me and shapes my today behavior … and what to make of lacking oxygen at several 1000 feet high or at level zero in the center of Manhattan? Like if live was an ongoing struggle between a surplus or a lacking – one being always the negative [in the ‘picture’] of the other, and by so doing creating the ‘image’ of our lives.

City versus Nature, shifting opposites poles, I let the viewer free of making choice of which from the two world he/she wish to belong to…When ever in the city or in the country side.

▹ Ville ou Nature?

Je ne désire pas emprunter le langage d’un scientifique, journaliste, universitaire ou  avocat, avec pour slogan, «la preuve, et rien d’autre que la preuve”, mais simplement présenter l’ «expérience» de ma propre observation par l’intermédiaire de mon travail. En voyant de mes propres yeux, en activant mes propres sens, dans l’espoir de trouver une «réponse». Quel meilleur «enseignement » et partage peut on souhaiter du fait d’ «être en vie»? [Vous pouvez ou ne pas être d’accord, bien ou mal, peu importe, à mes yeux, c’est expérience de ses propres sens et sa propre façon de l’exprimer qui compte.] Ceci est (ou fut), à bien des égards, ce qu’il est requis pour demeurer un artiste entant que tel.

Que je sois dans le contexte des plus grandes villes surpeuplées ou dans un lieu sauvage ou une campagne isolée, je demande à mes pieds me transporter, à mes épaules de soutenir mon sac à dos, à mes craintes de me laisser aller de l’avant … afin que je puisse parvenir à un «site» me permettrant de commencer une «conversation» avec “le” monde qui me confronte – dédier à ne pas rentrer chez moi bredouille, sans rapporter de nouveaux «sentiments» de ma «visite» … «visiteur», toujours, «touriste» hors de question!

Mes expositions se voudraient de partager ces moments avec autres, ce qu’il en est “sorti” de mes visites de «lieux ». Mais au-delà de l’ «émotion» reste l’impact, la façon dont cela m’a transformé? Ayant traversé les Andes, il y a plus de 45 ans, résonne encore en moi et façonne mon comportement aujourd’hui … et que penser du manquer d’oxygène à plusieurs mille pieds de haut ou au niveau zéro dans le centre de Manhattan? Comme si la vie était une lutte permanente entre un surplus ou un manque – l’un étant toujours le négatif [comme dans une «gravure»] de l’autre, et ce faisant la création de «l’image» de nos vies.

Ville ou Nature? Mouvements de pôles contraires, je laisse le spectateur libre de faire son choix auquel des deux mondes il ou elle souhaite appartenir …

mostra di incisioni - Loggia di San Sebastiano - Ovada - Italia
mostra di incisioni – Loggia di San Sebastiano – Ovada – Italia
mostra di incisioni - Loggia di San Sebastiano - Ovada - Italia
mostra di incisioni – Loggia di San Sebastiano – Ovada – Italia
mostra di incisioni - Loggia di San Sebastiano - Ovada - Italia
mostra di incisioni – Loggia di San Sebastiano – Ovada – Italia
mostra di incisioni - Loggia di San Sebastiano - Ovada - Italia
mostra di incisioni – Loggia di San Sebastiano – Ovada – Italia
mostra di incisioni - Loggia di San Sebastiano - Ovada - Italia
mostra di incisioni – Loggia di San Sebastiano – Ovada – Italia
mostra di incisioni - Loggia di San Sebastiano - Ovada - Italia
mostra di incisioni – Loggia di San Sebastiano – Ovada – Italia
mostra di incisioni - Loggia di San Sebastiano - Ovada - Italia
mostra di incisioni – Loggia di San Sebastiano – Ovada – Italia
mostra di incisioni - Loggia di San Sebastiano - Ovada - Italia
mostra di incisioni – Loggia di San Sebastiano – Ovada – Italia
mostra di incisioni - Loggia di San Sebastiano - Ovada - Italia
mostra di incisioni – Loggia di San Sebastiano – Ovada – Italia
mostra di incisioni - Loggia di San Sebastiano - Ovada - Italia
mostra di incisioni – Loggia di San Sebastiano – Ovada – Italia
mostra di incisioni - Loggia di San Sebastiano - Ovada - Italia
mostra di incisioni – Loggia di San Sebastiano – Ovada – Italia
mostra di incisioni - Loggia di San Sebastiano - Ovada - Italia
mostra di incisioni – Loggia di San Sebastiano – Ovada – Italia
mostra di incisioni - Loggia di San Sebastiano - Ovada - Italia
mostra di incisioni – Loggia di San Sebastiano – Ovada – Italia
mostra di incisioni - Loggia di San Sebastiano - Ovada - Italia
mostra di incisioni – Loggia di San Sebastiano – Ovada – Italia
mostra di incisioni - Loggia di San Sebastiano - Ovada - Italia
mostra di incisioni – Loggia di San Sebastiano – Ovada – Italia
mostra di incisioni - Loggia di San Sebastiano - Ovada - Italia
mostra di incisioni – Loggia di San Sebastiano – Ovada – Italia
mostra di incisioni - Loggia di San Sebastiano - Ovada - Italia
mostra di incisioni – Loggia di San Sebastiano – Ovada – Italia
mostra di incisioni - Loggia di San Sebastiano - Ovada - Italia
mostra di incisioni – Loggia di San Sebastiano – Ovada – Italia
mostra di incisioni - Loggia di San Sebastiano - Ovada - Italia
mostra di incisioni – Loggia di San Sebastiano – Ovada – Italia
mostra di incisioni - Loggia di San Sebastiano - Ovada - Italia
mostra di incisioni – Loggia di San Sebastiano – Ovada – Italia
mostra di incisioni - Loggia di San Sebastiano - Ovada - Italia
mostra di incisioni – Loggia di San Sebastiano – Ovada – Italia
mostra di incisioni - Loggia di San Sebastiano - Ovada - Italia
mostra di incisioni – Loggia di San Sebastiano – Ovada – Italia
mostra di incisioni - Loggia di San Sebastiano - Ovada - Italia
mostra di incisioni – Loggia di San Sebastiano – Ovada – Italia
mostra di incisioni - Loggia di San Sebastiano - Ovada - Italia
mostra di incisioni – Loggia di San Sebastiano – Ovada – Italia
mostra di incisioni - Loggia di San Sebastiano - Ovada - Italia
mostra di incisioni – Loggia di San Sebastiano – Ovada – Italia
mostra di incisioni - Loggia di San Sebastiano - Ovada - Italia
mostra di incisioni – Loggia di San Sebastiano – Ovada – Italia
mostra di incisioni - Loggia di San Sebastiano - Ovada - Italia
mostra di incisioni – Loggia di San Sebastiano – Ovada – Italia
mostra di incisioni - Loggia di San Sebastiano - Ovada - Italia
mostra di incisioni – Loggia di San Sebastiano – Ovada – Italia
mostra di incisioni - Loggia di San Sebastiano - Ovada - Italia
mostra di incisioni – Loggia di San Sebastiano – Ovada – Italia
mostra di incisioni - Loggia di San Sebastiano - Ovada - Italia
mostra di incisioni – Loggia di San Sebastiano – Ovada – Italia

▿▿▿

riciclare – recycling

I make a stand working always on site – hardly from studies and never from documents – I engraved-direct right on the spot.

When in the city, where all kinds of unwanted materials resulting from over consumerism are available, left on the streets. I recycled and experiment on whatever material may have a chance being engraved and printed.

Recycling, if not giving an aesthetic solution to the process, may at least give it more ‘authenticity’. Therefore, ‘cutting’ does not induce to more material consumption but rather give a true transformation to it.

What is given for ‘trash’ gets a second chance of ‘use’. The most hugely panels from the most inconceivable cheapest furniture may very well change into an image of the city, the same city rejecting it.

Beside, from a creative point of view, there is no such a thing of having fear messing up a material barely save from destruction to start with…it gives the unique opportunity to express oneself with the greatest confidence and freedom.

 recyclage

Je donne la priorité à travailler sur le motif  – très rarement à partir d’études et encore moins de documents – je procède par graver directement sur place. Lorsque je me trouve dans la rue, en ville, où toutes sortes de matériau indésirables résultant de surconsommation sont disponibles, je recycle et expérimente sur tout ce qui peut offrir une possibilité  d’être gravé et imprimé.

Le recyclage, si il n’arrive pas toujours nécessairement à donner répondre esthétique du processus,  peut au moins offrir plus d’«authenticité». Par conséquent, «graver» ne stimule plus la consommation de nouveaux matiériau, mais plutôt permet une véritable transformation ce ceux classés inutiles.

Ce qui est destiné à être jeté à la ‘poubelle’ obtient ainsi une seconde chance de «vie». Les panneaux les plus abominables venant de meubles ‘bon marché’ les plus inconcevables peuvent très bien se transforme en gravures représentant la ville, la même ville qui les rejéte.

De plus, d’un point de vue créatif, il n’y a plus de raison d’avoir peur de gâcher un matériau tout juste sauver de la destruction d’un camion poubelle … cela donne l’occasion unique de s’exprimer avec la plus grande confiance et liberté…car il n’y a rien à ‘perdre’ ! Et n’avoir rien à perdre, c’est plutôt bien pour l’art et l’artiste contemporain constamment sous la brèche.

▿▿▿

mostra di incisioni - Loggia di San Sebastiano - Ovada - Italia
mostra di incisioni – Loggia di San Sebastiano – Ovada – Italia

“La Loggia è Ovada …e Ovada è la Loggia

L’antica parrocchiale di Santa Maria, oggi Loggia di San Sebastiano, fu eretta nel Xii secolo in forme romaniche a capanna con una sola navata. L’edificio, nominato del 1277 stipulo tra il Comune di Genova ed i fratelli Spinola, fu ampliato nel XIV secolo con l’aggiunta delle navate laterali e del campanile…

The Loggia is Ovada…Ovada is the Loggia

The ancient church of Santa Maria, nowadays Loggia of San Sebastiano, was raised in the XII century in romanesque style a capanna with a unique nave. The building, mentioned for the first time in a purchase agreement of 1227 between Genova Municipality and Spinola brothers, was enlarged in the Xiv century with the addition of the sited naves and the bell tower…”

mostra di incisioni - Loggia di San Sebastiano - Ovada - Italia
mostra di incisioni – Loggia di San Sebastiano – Ovada – Italia

Desidero ringraziare il Comune, il Proloco e il Centro Info di la Citta’ di Ovada per aver ospitato la mia mostra e per collaborazione e l’amicizia dimostrata nell’ organizzazione della stessa. Grazie Anna e Christina e a tutti mio caro amici!

I want to thank the Commune, the Proloco and the Center Info of the City of Ovada [Italia] for hosting my exhibition and for its friendship collaboration with its organization. Special thanks to Anna and Christina, as well as all my dear friends.

Je remercie la Commune de Ovada, Le Proloco et le Centre Info de la ville d’Ovada [Italie] pour m’ inviter à exposer mes oeuvres, organiser l’événement et leur amicale collaboration. Sans oublier Anna et Christina et tous mes chers amis.

Per saperne di più ( more to read …à lire…)

Raymond Verdaguer biografia di Elena Patarini

RVrlogo2

original linoleum cut and woodcut > linogravure originale et gravures sur bois > linóleo grabado original > incisione originale > Copyright © Raymond Verdaguer 2015

Percorsi d’autore ▹ invito della mostra di incisioni e picttura

rvwit16ovada-percosiautore1

▹ ” Percorsi d’autore – della Grande Mela all’Alto Monferrato ▹ invito della mia mostra di incisioni e picttura  ” ▹ venerdi 30 settembre, sabato 1 e dominca 2 ottobre 2016, dalla ore 10 alle 19 ▹ Loggia di San Sebastiano – 16 Vico San Giovanni Citta’ di Ovada, (A.L), Italia.

spazio prima della mostra
spazio prima della mostra
spazio prima della mostra
spazio prima della mostra
spazio prima della mostra
spazio prima della mostra
spazio prima della mostra
spazio prima della mostra
spazio prima della mostra
spazio prima della mostra
spazio prima della mostra
spazio prima della mostra

 ▹ “Paths of an Author – from the Big Apple to the Alto Monferrato” ▹ invitation to my exhibition of engravings and paintings ▹ Friday September 30, Saturday 1 and Sunday 2 October 2016, from 10 am to 7 pm ▹ Loggia di San Sebastiano – 16, Vico San Giovanni – Citta’ di Ovada, (A.L), Italy.

▹ “Parcours d ‘auteur  – de la Grande Pomme à l’Alto Monferrato “▹ Invitation  à mon exposition de gravures et de peintures ▹ Vendredi 30 Septembre,  samedi 1 et dimanche 2 Octobre 2016, de 10 h à 19 ▹ Loggia di San Sebastiano – 16 Vico San Giovanni Citta’ di Ovada, (A.L), Italie.

diptych from two floor boards
diptych from two floor boards

rvwit16casal-Rbosco6

diptych from two floor boards
diptych from two floor boards

rvwit16casal-Rbosco13

diptych from two floor boards
diptych from two floor boards

rvwit16casal-madonna22

 ▹ City or Nature?

During WW2, Francis, an American officer send to war in Europe arrived in England. His Chauffeur, a black man from the Bronx, New York – [who never stepped out from it] – was driving the Jeep. This man, for the first time in his life experiencing the country site identified a large brown animal in a field. He asked Francis “Sir, what is this?” – “a cow” replied Francis – “you mean a moo moo, Sir?”

It took the circumstances of a terrifying war for a man to be force out of his ‘normal’ urban habitat to confront the unknown of the ‘country side’. It happen during the 1940’s, even so this story could seem odd to some, perhaps belonging to the generation of their grandparents or grand-grandparents, however it illustrates how, already long ago, people from the city could have been disconnected from basic elements of nature’s life.

Now a days, believing that access to internet could solve the problem and shorten the ‘gap’ of knowing better of each other world is a blur. Because, nothing can replace being on site experimenting situations.

Not wishing to borrow the language of a scientist, a journalist, an academic or a lawyer, with such a motto as “the proof, but nothing but the proof “, but simply presenting my ‘experiencing’ from my own observation through the medium of an art work. Seeing with my own eyes, putting my own senses at work we the hope to trigger a ‘response’, what better ‘understanding’ and sharing one can get from ‘being alive’? [You maybe tag it, right or wrong, it hardly matters, its your experience with your own senses and your own way of expressing it that counts.] This is, in many ways, what it takes being committed as an artist.

What ever in a situation of populated biggest cities or in the most remote wildness or country side, I ask my feet to transport me, my shoulders to hold my backpack, my fears to let me move forward …so I could reach any ‘site’ that will allow me to start a ‘conversation’ with what confronts me – dedicated not to return home without carrying back the ‘feelings’ from my ‘visit’ … ‘visitor’, always, as I dismay ‘tourist’!

My exhibitions intend to share this moments with others, what I have ‘came out’ with from my ‘site’ visits. But beyond the ’emotion’ remains the impact, how it has transformed me ? Having cross the Andes, over 45 y ago, still resonates in me and shapes my today behavior … and what to make of lacking oxygen at several 1000 feet high or at level zero in the center of Manhattan? Like if live was an ongoing struggle between a surplus or a lacking – one being always the negative [in the ‘picture’] of the other, and by so doing creating the ‘image’ of our lives.

City versus Nature, shifting opposites poles, I let the viewer free of making choice of which from the two world he/she wish to belong to…When ever in the city or in the country side.rvwcnyc16wb-eiffeleff44

▹ Ville ou Nature?

Pendant la deuxième guerre mondiale, Francis, un officier américain est envoyé en Europe et arrive en Angleterre. Son chauffeur, un homme noir du Bronx, New York – [qu’il n’a jaimais quitté] – conduit la Jeep. Cet homme, pour la première fois de sa vie ce trouvant à la campagne et identifie un gros animal brun dans un champ. Il demande à Francis «Monsieur, qu’est-ce?” – «une vache», répondit Francis – “vous voulez dire une ‘meu-meu’, Monsieur?”

Il a fallu les circonstances d’une guerre terrible pour qu’un homme forcé hors de la normalité de son habitat urbain fasse face à l’inconnu de la «campagne». Cela ce situe durant les années 1940, cette histoire peut sembler étrange à certains, appartenant sans doute à la génération de leurs grand-parents ou arrière grand-parents, cependant cela illustre combien ce n’est pas un phénomène nouveau pour des gens de la ville d’être   déconnectés d’éléments de base lies à la vie nature.

De nos jours, croire que l’accès à Internet peut résoudre ce problème ou réduire l’«écart» et aider à mieux connaître chaqu’un de ces deux mondes est un mirage. Car, rien ne peut remplacer le fait de se trouver sur place et “de le vivre.”

Je ne désire pas emprunter le langage d’un scientifique, journaliste, universitaire ou  avocat, avec pour slogan, «la preuve, et rien d’autre que la preuve”, mais simplement présenter l’ «expérience» de ma propre observation par l’intermédiaire de mon travail. En voyant de mes propres yeux, en activant mes propres sens, dans l’espoir de trouver une «réponse». Quel meilleur «enseignement » et partage peut on souhaiter du fait d’ «être en vie»? [Vous pouvez ou ne pas être d’accord, bien ou mal, peu importe, à mes yeux, c’est expérience de ses propres sens et sa propre façon de l’exprimer qui compte.] Ceci est (ou fut), à bien des égards, ce qu’il est requis pour demeurer un artiste entant que tel.

Que je sois dans le contexte des plus grandes villes surpeuplées ou dans un lieu sauvage ou une campagne isolée, je demande à mes pieds me transporter, à mes épaules de soutenir mon sac à dos, à mes craintes de me laisser aller de l’avant … afin que je puisse parvenir à un «site» me permettrant de commencer une «conversation» avec “le” monde qui me confronte – dédier à ne pas rentrer chez moi bredouille, sans rapporter de nouveaux «sentiments» de ma «visite» … «visiteur», toujours, «touriste» hors de question!

Mes expositions se voudraient de partager ces moments avec autres, ce qu’il en est “sorti” de mes visites de «lieux ». Mais au-delà de l’ «émotion» reste l’impact, la façon dont cela m’a transformé? Ayant traversé les Andes, il y a plus de 45 ans, résonne encore en moi et façonne mon comportement aujourd’hui … et que penser du manquer d’oxygène à plusieurs mille pieds de haut ou au niveau zéro dans le centre de Manhattan? Comme si la vie était une lutte permanente entre un surplus ou un manque – l’un étant toujours le négatif [comme dans une «gravure»] de l’autre, et ce faisant la création de «l’image» de nos vies.

Ville ou Nature? Mouvements de pôles contraires, je laisse le spectateur libre de faire son choix auquel des deux mondes il ou elle souhaite appartenir …

▿▿▿

riciclare – recycling

I make a stand working always on site – hardly from studies and never from documents – I engraved-direct right on the spot.

When in the city, where all kinds of unwanted materials resulting from over consumerism are available, left on the streets. I recycled and experiment on whatever material may have a chance being engraved and printed.

Recycling, if not giving an aesthetic solution to the process, may at least give it more ‘authenticity’. Therefore, ‘cutting’ does not induce to more material consumption but rather give a true transformation to it.

What is given for ‘trash’ gets a second chance of ‘use’. The most hugely panels from the most inconceivable cheapest furniture may very well change into an image of the city, the same city rejecting it.

Beside, from a creative point of view, there is no such a thing of having fear messing up a material barely save from destruction to start with…it gives the unique opportunity to express oneself with the greatest confidence and freedom.
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rvwcb-nyc15-eriverwbridge11

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 recyclage

Je donne la priorité à travailler sur le motif  – très rarement à partir d’études et encore moins de documents – je procède par graver directement sur place. Lorsque je me trouve dans la rue, en ville, où toutes sortes de matériau indésirables résultant de surconsommation sont disponibles, je recycle et expérimente sur tout ce qui peut offrir une possibilité  d’être gravé et imprimé.

Le recyclage, si il n’arrive pas toujours nécessairement à donner répondre esthétique du processus,  peut au moins offrir plus d’«authenticité». Par conséquent, «graver» ne stimule plus la consommation de nouveaux matiériau, mais plutôt permet une véritable transformation ce ceux classés inutiles.

Ce qui est destiné à être jeté à la ‘poubelle’ obtient ainsi une seconde chance de «vie». Les panneaux les plus abominables venant de meubles ‘bon marché’ les plus inconcevables peuvent très bien se transforme en gravures représentant la ville, la même ville qui les rejéte.

De plus, d’un point de vue créatif, il n’y a plus de raison d’avoir peur de gâcher un matériau tout juste sauver de la destruction d’un camion poubelle … cela donne l’occasion unique de s’exprimer avec la plus grande confiance et liberté…car il n’y a rien à ‘perdre’ ! Et n’avoir rien à perdre, c’est plutôt bien pour l’art et l’artiste contemporain constamment sous la brèche.

▿▿▿

spazio prima della mostra
spazio prima della mostra

“La Loggia è Ovada …e Ovada è la Loggia

L’antica parrocchiale di Santa Maria, oggi Loggia di San Sebastiano, fu eretta nel Xii secolo in forme romaniche a capanna con una sola navata. L’edificio, nominato del 1277 stipulo tra il Comune di Genova ed i fratelli Spinola, fu ampliato nel XIV secolo con l’aggiunta delle navate laterali e del campanile…

spazio prima della mostra
spazio prima della mostra

The Loggia is Ovada…Ovada is the Loggia

The ancient church of Santa Maria, nowadays Loggia of San Sebastiano, was raised in the XII century in romanesque style a capanna with a unique nave. The building, mentioned for the first time in a purchase agreement of 1227 between Genova Municipality and Spinola brothers, was enlarged in the Xiv century with the addition of the sited naves and the bell tower…”

Desidero ringraziare il Comune, il Proloco e il Centro Info di la Citta’ di Ovada per aver ospitato la mia mostra e per collaborazione e l’amicizia dimostrata nell’ organizzazione della stessa.

I want to thank the Commune, the Proloco and the Center Info of the City of Ovada [Italia] for hosting my exhibition and for its friendship collaboration with its organization.

Je remercie la Commune de Ovada, Le Proloco et le Centre Info de la ville d’Ovada [Italie] pour m’ inviter à exposer mes oeuvres, organiser l’événement et leur amicale collaboration.

Per saperne di più ( more to read …à lire…)

Raymond Verdaguer biografia di Elena Patarini

RVrlogo2

original linoleum cut and woodcut > linogravure originale et gravures sur bois > linóleo grabado original > incisione originale > Copyright © Raymond Verdaguer 2015

Mostra di incisioni – Lerma Italia 2016

▹ Presentazione della mia mostra di incisioni ▹ New York – Ponti nel tempo ▹ 20 e 21 agosto 2016, Lerma, (A.L), Italia.

carta della mostra
carta della mostra ( poster of my exhibition reinforced with strong pins to resist the weather )

▹ Presentation of my exhibition of woodcuts ▹ “New York – Bridges in the Time” – ▹ August 20 & 21, 2016. ▹ Lerma, (A.L), Italy.

▹ Pésentation de mon exposition de gravures sur bois ▹ “New York – Ponts dans le temps “▹ 20 et 21 aout 2016, Lerma, (A.L), Italie.

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The James Bond Girl
The James Bond Girl
Miraluna
Miraluna
artiste Ezio Minetti e Carlo
artiste Ezio Minetti e Carlo
Professore e incisore Pio Carlo Barola
Professore e incisore Pio Carlo Barola
incisore, illustratrice e autrice Valentina Billeta
incisore, illustratrice e autrice Valentina Billeta

Exhibiting on Summer time, in a natural environment, a work created in winter in one of the most highly dense urban context, could seem truly off. I will not argue if only for the very fact that my “cuts & prints” live of their highest possible contrast: dense black patterns versa solid white one.

Exposer en été, dans un environnement naturel, une œuvre créée en hiver dans l’un des plus dense contexte urbain, pourrait sembler vraiment tiré par les cheveux. Je ne le disputerai pas si ce n’est pour le fait que mes “gravures et impressions” ne vivaient pas, pour commencer, grâce au fait de leur contraste extrêmes : des noirs denses sur l’aplat d’une feuille blanche.

rvwcnyc16-wbeiffeleffect1Some people say that Nature was created by God and the cities by men [ end women of course…]. Now, it would be interesting to figure out, on doing so, how much men/women have ” borrowed and steal ” from nature ? Just to be able to claim their independence from it!

Certaines personnes disent que la Nature à été créé par Dieu et les villes par les ‘hommes’ [les femmes, il en va de soit …]. Maintenant, il serait intéressant de comprendre, à ce propos, combien d’hommes et femmes ont “puisé, emprunté et pillé” la nature, pour être en mesure de clamer leur indépendance par rapport à celle-ci?

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In our cities, nothing new witnessing “advertising” constantly selling the virtues of Nature [ called even Mother Nature ]. Seductively packaging its name in order to trick us in consuming more … while misleading its own nature [ so to speak].
Besides allowing us to go across, what amounts to an amazing size of nature, [such as big rivers], bridges, constructions between water and sky linking two pieces of land, use graceful curved lines. A must in order to achieve their function, while buildings all around remain confine by the main use of straight lines. In nature, there is not such a thing as a straight line, if not from some split rocks, this is why I do not feel odd presenting bridges curves in a natural environment. Possible path for establishing a “bridge” allowing city and nature to become reconcilable?

Dans nos villes, outre le fait de nous permet d’aller de l’autre côté, [ce qui équivaut à une portion considérable de  nature telles les grandes rivières], les ponts, constructions entre l’eau et le ciel reliant deux morceaux de terre, utilisent des lignes courbes gracieuses. Une nécessite pour qu’ils puissent répondre à leur fonction, tandis que les bâtiments tout autour se confinent invariablement à l’utilisation principale de lignes droites. Dans la nature, la ligne droite est pratiquement absente, si ce n’est pour quelques roches fendues. Ce pourquoi je ne me trouve pas étrange en présentant des courbes de ponts dans un environnement naturel. Possible route pour établir un «pont» permettant ville et nature à devenir conciliables?

Williamsburg Bridge - woodcut on site.
Williamsburg Bridge – woodcut on site.

I make a stand working always on site – hardly from studies and never from documents – I engraved-direct right on the spot.

Je donne la priorité à travailler sur le motif  – très rarement à partir d’études et encore moins de documents – je procède par graver directement sur place.

diptych from two floor boards
diptych from two floor boards

When in the city, where all kinds of unwanted materials resulting from over consumerism are available and left on the streets, I recycled and experiment on whatever material may have a chance being engraved and printed.

Lorsque je me trouve dans la rue, en ville, où toutes sortes de matériau indésirables résultant de surconsommation sont disponibles, je recycle et expérimente sur tout ce qui peut offrir une possibilité  d’être gravé et imprimé.

diptych from two floor boards
diptych from two floor boards

Recycling, if not giving an aesthetic solution to the process, may at least give it more ‘authenticity’. Therefore, ‘cutting’ does not induce to more material consumption but rather give a true transformation to it.

Le recyclage, si il n’arrive pas toujours nécessairement à donner répondre esthétique du processus,  peut au moins offrir plus d’«authenticité». Par conséquent, «graver» ne stimule plus la consommation de nouveaux matiériau, mais plutôt permet une véritable transformation ce ceux classés inutiles..

diptych from two floor boards
diptych from two floor boards

What is given for ‘trash’ gets a second chance of ‘use’. The most hugely panels from the most inconceivable cheapest furniture may very well change into an image of the city, the same city rejecting it .

Ce qui est destiné à être jeté à la ‘poubelle’ obtient ainsi une seconde chance de «vie». Les panneaux les plus abominables venant de meubles ‘bon marché’ les plus inconcevables peuvent très bien se transforme en gravures représentant la ville, la même ville qui les rejette.

rvwcnyc16wb-eiffeleff44Beside, from a creative point of view, there is no such a thing of having fear messing up a material barely save from destruction to start with…it gives the unique opportunity to express oneself with the greatest confidence and freedom.…because there is nothing to ‘lose’! And have nothing to lose, that’s pretty good for the art and the contemporary artist constantly in the breach.

De plus, d’un point de vue créatif, il n’y a plus de raison d’avoir peur de gâcher un matériau tout juste sauver de la destruction d’un camion poubelle … cela donne l’occasion unique de s’exprimer avec la plus grande confiance et liberté…car il n’y a rien à ‘perdre’ ! Et n’avoir rien à perdre, c’est plutôt bien pour l’art et l’artiste contemporain constamment sous la brèche.

Italia – Tuesday August 30, 2016 / Mardi 30 août 2016

▹ LA STAMPA – intervista  ▹ 19 agosto 2016, Italia.

Per saperne di più ( more to read …à lire…}
Per saperne di più ( more to read …à lire…)

Desidero ringraziare il Comune di Lerma per aver ospitato la mia mostra e per collaborazione e l’amicizia dimostrata nell’ organizzazione della stessa.

I want to thank the commune of Lerma [Italia] for hosting my exhibition and for its friendship collaboration with its organization.

Je remercie la commune de Lerma [Italie] pour m’ inviter à exposer mes oeuvres, organiser l’événement et leur amicale collaboration.

LaStampa.it-DanielePrato16ty

Raymond Verdaguer biografia di Elena Patarini

RVrlogo2

original linoleum cut and woodcut > linogravure originale  et gravures sur bois > linóleo grabado original > incisione originale > Copyright © Raymond Verdaguer 2016

LA STAMPA – intervista – interview

rvwit16lerma-lastampapubbli

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 INTERVISTA – [interview] di Daniele Prato   La STAMPA

“Crea ponti tra il suo passato e il suo futuro, come quelli che uniscono Manhattan ai suoi sobborghi, il caos della città ai valori della campagna, che Raymond ha trasferito nel corso dell’inverno su decine di incisioni. “

▹ pubblicata 19 agosto prima la mostra – sabato 20 + domenica 21 agosto 2016 ▹ LERMA, (A.L), Italia.

published August 19 before the exhibition – August, Saturday 20 & Sunday 21, 2016. ▹ LERMA, (A.L), Italy.

publié le 19 aout, avant l’exposition du samedi 20 et dimanche 21 aout 2016.▹ LERMA, (A.L), Italie.

Raymond Verdaguer biografia di Elena Patarini

RVrlogo2

original linoleum cut and woodcut > linogravure originale  et gravures sur bois > linóleo grabado original > incisione originale > Copyright © Raymond Verdaguer 2015