WHITE MIRROR SERIES, 2014-2016
The paintings included in this portfolio are a selection from a series of watercolors I have been working on since 2014.
White Mirror stems from my fascination with the dynamic movements and intricate poses performed by bgirls and bboys. I am a bboy myself, engaging in dance battles, performances and jams. During rehearsals we often practice in front of a mirror: our toughest enemy. Like a boxer fighting his own shadow, you have to beat yourself before you can win an opponent in a battle. It’s you, trying to be faster than your reflection, faster than light itself. The circle lies between the self and the other. You have to defy the laws of the space around you to spin faster and higher. Space becomes a place you can lean on for the next jump, air becomes a support for the next impossible trick.
In my paintings I stress these elements with the bright colors and shapes of the dancers. The reflected image is as vivid as the original. The raw, white paper is space: the realm of matter containing all the rules we must defy every time we push our limits.
The water, soaked in color, flowing on the wet paper and only partially controlled by me, is ideal to express the sense of motion and energy of this dance.
Hip Hop is a wide cultural movement that includes visual arts in the form of Graffiti. Graffiti are perfect to give a voice and express the ideas of the disenfranchised youth from which Hip Hop originated.
Watercolors on the other hand are ‘traditional’ and ‘safe’, the opposite end of the spectrum of a spray can. But it’s exactly the encounter of these extremes that create a powerful contrast in an unexpected visual experience.
Heat Rock, 8x8, Watercolor on Sennellier paper, 2015.
Lauren watching rehearsals, 8x8, Watercolor on Cartiera Magnani Portofino paper, 2014.
Young bboy 8x8, Watercolor on Cartiera Magnani Italia cold pressed cotton paper - 140lb, 2015.
Top Rock, 8x8, Watercolor on on Cartiera Magnani Portofino hot pressed cotton paper - 140 lb, 2015.
Push, 8x8, Watercolor on Cartiera Magnani Portofino hot pressed cotton paper - 140 lb, 2015.
Nikita, 7x10, Watercolor on Arches hot pressed cotton paper - 140 lb, 2015.
Self portrait, 8x8, Watercolor on Cartiera Magnani Portofino hot pressed cotton paper - 140 lb, 2015.
Push & Chihiro, 8x8, Watercolor on Sennellier cold pressed paper, 2015.
Emanuele Pavarotti studied at the Brera Academy of Fine Arts in Milan with a major in painting. He graduated with honors in 2004.
During his staying at Brera he was mentored by Mino Ceretti, one of the founders of Realismo Esistenziale (existential realism), a Milanese movement that started in the mid fifties.
He had his first exhibition in Milan in 2002 at Palazzo della Permanente. Other exhibitions include Spazio San Fedele, Centro Culturale Bertolt Brecht (2002), Ippodromo del Galoppo (2003), Spazio Tetis - Arsenale di Venezia (2005), Museum Arterra - Vienna (2005).
From 2004 Emanuele focused his career on character animation: since then he has worked on 15 animated and live action feature films, including Harry Potter, Ice Age, and Rio.
In 2007 he moved to London, England, to work for the Moving Picture Company and Double Negative: two of the largest visual effects studios for film in the world. In 2011 he came to New York City to work for Blue Sky Studios: the biggest and most important animation studio in the East Coast.
With his animation career successfully launched and thriving, Emanuele started painting again around 2013 with renovated interest and prolific production.
New York has a strong influence on his work, starting from the street dancers, the bboys and bgirls and the hip hop culture. Emanuele’s watercolors display a strong emphasis on the movement and gestures, revealing an influence from his animation experience. The paintings are essential, expressing an effort in using less strokes to tell more. Quoting Wittgenstein, “I wanted to write that my work consists of two parts: of the one which is here, and of everything which I have not written. And precisely this second part is the important one.”