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Η άλλη όψη του ηθοποιού Σταλλόνε

Δεν είναι ούτε ο Ράμπο ούτε ο Ρόκυ. Δεν είναι καν ο ηθοποιός που ερμήνευσε τους ρόλους. Εδώ έχουμε να κάνουμε με μια άλλη ιδιότητα του Συλβέστερ Σταλόνε. Του ζωγράφου. Και μάλιστα από την ηλικία των οκτώ χρονών που αυθόρμητα πρωτοζωγράφισε έναν άντρα σε μια ζούγκλα. Τώρα πια στα 68 του χρόνια και με μια έκθεση που πραγματοποιείται στη χώρα του συναισθήματος και της τέχνης, τη Γαλλία, αποκαλύπτει απενοχοποιημένος την άλλη πλευρά του, την πιο χρωματιστή και λιγότερη βίαιη.

Στη Νίκαια της Γαλλίας λοιπόν, ο Σταλόνε εκθέτει έργα φτιαγμένα από το 1975 έως τώρα, 40 χρόνια διάρκεια, και μας προκαλεί να τον εμπιστευτούμε και να τον δούμε σοβαρότερα από τους χολυγουντιανούς του ρόλους. Όπως λέει: «…αισθάνομαι το ίδιο απέναντι στην τέχνη. Είναι ένα κολάζ συναισθημάτων. Και όταν μπορείς να τα μεταφέρεις στον καμβά, είναι μια υπέροχη αίσθηση.»

Στους πίνακες του θα δείτε έντονα χρώματα, κόκκινο και μαύρο, τα οποία συνδυάζονται με τις αυτοπροσωπογραφίες του και μας προσδίδουν την δυναμικότητα του ως άνθρωπος, ως μυαλό και ως συναίσθημα.


1690008_002 On Finding Rocky (1975) “Usually I try to visualise something before I put it into words. Words are very difficult and sometimes unforgiving. So if I could see what Rocky looked like, then perhaps I could write about him. So I began to work on this image. But I didn’t want to use a brush because I felt that the character was made out of industrial tools. He was a man that was forged by the hardships of life. So I put this image up there and I started to actually carve it with a screwdriver. Then I took newspaper clippings which would reflect what it would be like to be a very poor, unsuccessful man, especially a boxer, and then, all of sudden, the image came alive. Then I said, ‘OK, this is a character I would like to see written about because he looked interesting visually.’ If he looked interesting visually, then I think that he would translate through to literature and then cinema. I know it sounds ambitious but that was the genesis of Rocky.”

On Finding Rocky (1975)

091104_011 On his recurring clock motif “Early on in my life I realised that man is totally pressed upon by the sense of time racing. Everything is timed. So I started to put clocks on my images, usually the ones of actors – Marilyn Monroe, W?C Fields, Errol Flynn. Now if you imagine their lives lasted 12 hours, I would paint them at 10, as opposed to what they looked like at four. At four they’d be youthful, vibrant, optimistic. But then you move ahead to the 10th or 11th hour and reality has set in. Life is not everything you thought it was going to be. The colours have become darker, the eyes more sunken.”


Painting by Sylvester Stallone  On his use of incomplete frames “If I put a frame around a tree, the tree is going to grow through the frame. Well, I think that a painting, the more you look at it, [the more it] takes on different impressions and interpretations. You can’t frame an emotion forever. It’s constantly being expanded or taking on a bigger myth. Some paintings have taken on such grand history. I don’t think you can hold in anything that’s artistic. You can’t freeze it in time. The [incomplete] frame is symbolic of just letting it grow. As Anselm Kiefer said, the art is in transition.”

Painting by Sylvester Stallone

Sylvester Stallone vor seinen Bildern, Kunst "The Electric Burst of Creativity"  / Eröffnung Art Basel Miami Beach in Miami, USA am 02.12.2009 / Foto: BrauerPhotos (c) Sabine Brauer

Sylvester Stallone vor seinen Bildern, Kunst «The Electric Burst of Creativity»
/ Eröffnung Art Basel Miami Beach in Miami, USA am 02.12.2009
/ Foto: BrauerPhotos (c) Sabine Brauer

Source: telegraph, forbes

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