luvit

Biografia
 Impalpabilità
Percorsi
Microcosmo
Interattivi
Geometrismi
Archeofuturo
Digital Art 
 Galerie Zabbeni     
 Gheoart
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Biography

 Porto Ercole in Tuscany 

Born in Rome in 1939 in his childhood he loved to draw and depict objects thus his first piece of work was realized in 1953. The first real interest in the world of painting developed between the 60's and the 70's years in which he worked at the art gallery "Galleria d'Arte 70" in Messina with Vincenzo Celi. His professional path as an artist begins in 1980 when Vitale comes back to his home town Rome. In Rome he studied and perfectioned his skills in the art studio of Ninni Verga. Between 1980 and 1990 he dedicated himself with passion and commitment to drawing and painting and then to produce various paintings using classical methods, acrilic oil, watercolors, and paper. Since 1997 Lucio Vitale is better known as Luvit. His innovation in the name also reflects the innovation in the style and the use of methacrylic to which he is today completely devoted to. This matereal is perfect for Luvit's type of design and style since he abbandons any kind of traditional conception of painting in order to represent art in a virtual form. Luvit paints the back of plexiglass in order to create the sensation of looking at an impalpable material, he plays with the virtuality of images, he wants to foster fantasies and create a getaway towards immagination for a man who is loosing himself. Experts in the field have defined his art as something new, unique and contemporary althought at the same time full of artistic and intellectual content. Some of his works are enriched by phonosensible electrical circuits that make the spectator able to interact with the painting, some of them are full of lights that give the sensation of interaction and exeed the static of the work of art. At the beggining of the third millenium he proposed the archeologies of the future; a new series of art works that he calls "reperti" "archeological finds" that foretell the archeology of the virtual world. In the years beteen 2001 and 2003 Luvit lived in switzerland were his research on the "infinitly small" began. He exposed more than 100 pieces of work at Lausanne in an exposition called "Microcosmo". A Swiss art broker with international relations takes care of his work.
Particular interest has for the Digital Art which is dedicated with inexhaustible enthusiasm, and soon became one of the most prolific artists. After the first experience of computer graphics started since 1992 and research on multimedia, has more in-depth research gradually realizing digital works where contamination digital feeds the engine of creativity.
The preparation and contamination involving digital works mainly with traditional techniques rather than the images captured and processed digitally to the computer. The poetic  creative moves by osmosis connection with digital preservation, intact, the DNA.
Syncretism and chromatic sign between past and future becomes a reflection on the dynamism of the area that is projected in a never-ending expansion where our mind, and the generation mathematician, has been enhanced with poetry in which the finite and  infinite to alternate between rationality and mystery.

Its works have been exposed in U.S.A., England, Germany, France, Spain, Swiss and Italy.

Lucio Vitale in art, for his works made in perspex Luvit
Telephon:    +39   338  4748635
e.mail: luvital@aliceposta.it   -   info@luvit-arte.com

 

The concept of  A R T E for Lucio Vitale

Art, says the dictionary, is the ability, broadly speaking, acting and producing, based on a particular complex system of rules ed'esperienze knowledge and techniques, and hence the set of rules and procedures to perform human activity in view of certain results. These are just four letters of our primer with which we are used to enclose the advent of literacy concepts more or less complex or rich interdisciplinary connections without clarifying its pure essence, which I understand will never be possible to teach literacy.
Art as human activity is often opposed to nature or to an alleged work of a God Even nature through a complex system of rules which then form the basis of various phenomena, has always been and will continue to represent the art.
Michelangelo Merisi da Caravaggio stated that "the craft of painting is a profession in which one generates life, raise vital impulses, it means ideas and concepts, the reality is revealed." After over 400 years this concept is still totally acceptable?
In appearance, it tends to give the term meaning art privileged to indicate a particular cultural product such as painting, sculpture, architecture, music, poetry, etc..
So the art is represented in all its varying forms. Any representation of human creativity, whether it obeys the complex system of rules and techniques available, it becomes art, but does not assume an absolute value as influenced by market benchmarks by which to barter then impose scales of values, never true, but still conditioned to the logic of supply and demand.
In France, the early nineteenth century, the term art was used, taken mostly by the poets of the school Parnassian to designate the principle that art must have no other purpose than itself, outside of any concern for moral or utilitarian. Thus we need to liberate the concept by the rules and trappings merchant to return to a pure value.
Every living being is made up of energy, or a swirl of electrons, perhaps timeless, moving around the nucleus of belonging, without posing the question whether by chance or by necessity, taking on shapes and colors in relation to the instruments to be connected prepared themselves for their own perception and other galaxies of electrons surrounding the source, without asking here whether these processes are actually infinite or nonexistent. Everything that surrounds us and which we sensory perception is due to the inexhaustible dance of electrons.
We limit ourselves and our imagination is no exception to this limit. Even the dream, he still knows very little, dress forms and colors endlessly repeating this enigma.
That said, how does the concept of art?
Graffitis from the expressions of the most reliable trends in contemporary art, the whole art world has gone through the representation within our limits, nobody has managed to pass them. Nobody ever managed to capture the pure essence of the concept.
The pure essence of art is sought only in the imagination beyond our ability to imagine, ever in its representation as the representation contains the imaginary limits of ourselves. According to the theory of indeterminacy of quantum mechanics, which overthrew the Newtonian theory was based on the concepts of mass and strength as well as on the absolute value of the determinations of space and time, claims the influence of measurement procedures on the values of the assumptions considered el'indeterminazione magnitudes connected with each preferring to rely on patterns of probabilistic nature.
Then the Imaginary, beyond our capacity for imagination, assumes that it is of probabilistic nature of purity.
The imaginary pure can never be represented, it can never be defined in the illusion of reality that surrounds us, the Imaginary is beyond our own capacity to perceive and represent the Imaginary can never be repeated, lives its own life starts and ends where our capacity to imagine and to represent the image.
Only then will the art and become sublimated essence pure, unassailable by the trappings and the ravings of the so-called "cultural workers".
Art historians are doing their job: the classification of becoming historical representations, the interaction with the spirit of the times of social development and all other cultural sites is certainly important to the narrative and the location and importance of influences historically become classified and enciclopedizzabili, but the pure essence is not writable as it is not represented ... and then?
We try to draw any representation, which is recognizable on a sheet of paper or any media: this representation is formed by numerous points, consequential or otherwise, of various colors and not, each of which can start up to a half-line exceed the limit of the sheet and invade the surrounding space that is infinite and proceed towards the unimaginable. Multiply at will the number of rays from all sources in the drawing by directing most if we want to project them into the infinite. This exercise will stop when we will have given a representation on the paper that we can develop, edit, paint at will but always within the limits of space defined by the support, leaving it to historians assessing mercantile and cultural representation.
The rays, which we launched in the infinite, they also could potentially be represented in the limit of their portion, would be sufficient to increase the size of the sheet of paper with our imaginations to the point from which you can no longer represent them as crossing our limits and the boundaries of the defined space. At the precise moment when the imagination is no longer represented, only when it exceeds the limit produces the pure essence, the sign placed on the paper source using the rays as highways on which to run the initial energy, leaving her free her from the representation live independently: Art takes on a life of its own, freed from the sign, then the necessity of representation, and interacting with other energies well beyond the concepts of time and space offers pristine poetry of the mystery of Chance powered by Chaos .
Art is not perceptible, it is only representation, even painting Orphic is represented as the white canvas that is itself the representation and the representation can never be universal, the Mona Lisa indifferent Australian Aborigines, the field of grain Van Gogh may never be experienced by those who have never crossed the morbid desire of suicide, the madonnas of Michelangelo Merisi da Caravaggio, who bear the faces of models, namely the prostitutes of the area surrounding Piazza Navona, not to be relied in their true meaning if we do not rebel against the overbearing power of the powerful at that time represented by the church and its popes.
The universality is achieved outside the representation.
Only the pure essence is universal in its unknowability!
We try to describe the common concept of art for a blind person: he has a picture of the world around you configure only the perception that the report is received by the other sensory organs. Where the objects illustrated in full will be perceived by the sensory organs can also imagine active imagination of a blind projection close to the presumption of reality of the object in its values and dimensional form, never to chromatic scales in connection with the space and, above all, the ambient light. Can perceive the shape and size of the trunk of a tree through touch, but never his hair inaccessible to the other sensory organs. The same concept of space is proportional to the perceptual capacities of the blind.
It follows that the concept of art common among the blind and visually impaired people is very distant.
Now let us describe the common concept of art in the imagination of a blind person: all the values related to shapes, sizes and colors will live its own life, liberated from the comparisons shown and freed from the limitations imposed handicap. The same applies to the rays of the blind from the time when possibilities beyond the space defined by the source to live their lives in the imagination of the subject under consideration.
The distance between the concepts of art common between the two poles is reduced considerably, however, crediting that of the visually impaired greater spontaneity because it is less influenced by the representation.
Over the space granted to the imagination, the common concept of art is exhausted to give rise to the idea of art as pure energy that can never be different in relation to the perceptual capacity of each.
Art s'universalizza in its conceptual purity, so the universality is achieved outside the representation.
Only the pure essence, but in his world of probabilistic mechanics, we can consider the universal patrimony.

Lucio Vitale 1981

                                     

The mystery remains the source of all art and all science.



"Painting is a mental projection" (Leonardo da Vinci)