8_Antonio Buonaurio: Oltre la Coltre di Nebbia
Born: 20/06/1990 - Caserta / Italy
Three year degree: Architecture and Engineering sciences / S.U.N _ Seconda Università degli studi di Napoli " Luigi Vanvitelli "
Master degree: Architecture and Architectural design / Diarc _ Dipartimento di Architettura dell'Università degli studi di Napoli " Federico II "
Personal website: www.divisare.com/authors/Antonio Buonaurio
Personal email address: firstname.lastname@example.org
My works start from a passion that I have for the art movement called vedutismo (18th century Italian art movement) in which are presented views of cities and landscapes.
Actually there are not specific artists that influence me, however, there are some references to the architecture of Gian Battista Piranesi, Giovan Antonio Canal - Canaletto - and the utopian visions of E.L. Boullée and C.L. Ledoux and also modern groups such as Superstudio and Archizoom. The composition is not affected by postcard size but by the subject that represented. I think that postcards represent the most effective way to represent a city or a particular landscape. In fact, using the image of a monument or a specific part of the city immediately bring to mind the place from which they come. This is one of the reasons why, when I work to the drawings, I try to imagine how a particular architecture can be put in that specific context, so that it becomes unusual and alternative. For this and other reasons, concepts such as nostalgia & memory are not the first sensations to which I refer.
My drawings are aimed at a subject that has always fascinated me and that, in my opinion, is one of the most important elements of architecture: how the project affects, modifies, changes and influences the landscape in which it is located. Starting by the topic of my three year degree: “Le macchine d’acqua lungo l’acquedotto carolino” (The water machines along the acquedotto Caolino), in particular by Ponti della Valle (Bridges of the Valley) which represents a unique and iconic piece of civil engineering of its kind, so important that it becomes essential in the natural context in which it is located. I try to reorganize the scene represented in the view that I have chosen, using a geometric matrix formed by arches like that of the aqueducts. In some cases, the overlap of the elements must be constituted a perspective backdrop to the painting; in other situations, the same geometrical mesh, represent the alternative extension of architecture in the painting. In other situations is a sort of paradigmatic restoration of ruins.
Finally, sometimes this process appears efficient, almost the additions were a natural consequence to the balance of the subject chosen; sometimes stranger, almost parasitical against the landscape in which it is located. However, these jobs might seem like a spasmodic replication of conventional elements but the purpose is to try to see how these elements will inevitably alter the landscape and the observer's perception; who he is called to reinterpret, using the visual properties of the arch and its multiplication, the same landscape.