Since I regularly get requests for affordable portraits and
illustrations I thought to enable an online option allowing to submit
your commissions through the Deviantart verified service. Currently you
can commission black and white or color graphic art as high resolution
digital files. All you need to do is to register as a Deviantart user
(in case you aren't one yet), converting your money in points and select
the desired commission. Check it out and let me know if it's a viable
system for satisfying your artistic desires.
"A living tree means a living planet" is a collective international
documentary conceived and directed by Khalid Mokadmine, a young
filmmaker from Rabat. In April he reached me out online inviting me to
contribute with a one minute video to his ongoing project about the
relationship between humans and trees.
He had already invited several
filmmakers from all over the world, each one representing a different
country by telling a different visual story, and he still wasn't able
to find a director from Italy available to shoot his own segment. As
soon as he discovered I'm also a painter, he proposed me to figure out a
way to feature one of my painting in my video. Trees have provided
humans with the primary means of survival, therefore I thought it was
essential to show how they can still be a precious "motherly" source of
life for my own creations and (hopefully) the spirit of the humans
inhabiting my country.
For the third consecutive year, one of my cinematographic works has been selected by the Selva Nera Film Festival of Padua. After "EDOnism" and "Malorda" it's the turn of "Draw in", a rural psycho-thriller I've filmed at the end of last summer as one of my "multimedianic" indie productions, in competition in the shorts section.
A few weeks ago, near the same location, representing Italy, I also shot the segment of an international collective documentary film conceived and edited by a young filmmaker from Rabat that will be unveiled within September.
A proof that even in the most remote corner of the deep countryside it's impossible to escape from the manifold depths of Self.
Written, edited and produced by AFAN Alessandro Fantini
Music inspired by the soundtrack of VANGELIS composed by AFAN Alessandro
In a 2019 technologically different from that imagined by Ridley Scott
and Philip K. Dick, AFAN analyzes that one described by the film that in
1982 was able, in its own way, to prophesy the loss of empathy and the
hyperconnected replicants loneliness of the current future.
Between video-magazine and documentary, informative program and
video-art, in this series conceived and produced for the web, the
multimedianic artist AFAN Alessandro Fantini browses the art currents
and the artists who have contributed to its aesthetic training over the
years, affecting the development of his personal multi-faceted approach
"Nowadays Empathy has become the most rare and endangered human ability. Just like John the Evangelist got the revelation he wrote down in the book of Apocalypse while exiled on the Patmos island, so I got the inspiration to compose an album about the "apocalyptic" skill of mutual feeling in the era of exile in the evergrowing island of online solitude. The supreme revelation will come when humans will feel each other again without talking, judging or reasoning. The supreme revelation will come when humans will FEEL again.
Then the book of the Empath will start with the breeze of an eternal snap."
Composed, performed, recorded, mixed and produced by AFAN Alessandro Fantini
Lyrics, vocals and sound effects by AFAN Alessandro Fantini
Although I find it stingy to
establish hierarchies when it comes to Art, I would not hesitate to put the
whole human and creative story of Leonardo da Vinci at the top of my
Indelible is the memory of that huge
tome dedicated to his work I received as a Christmas present in 1986. It wasn’t
the paintings, drawings or codes written
with specular handwriting, that immediately impressed me, but the superhuman
effort, largely disregarded, that Leonardo had accomplished throughout his life
in tracing his intimate cosmogony, made even more heroic and romantic by the state of draft of many of his most
Later, I was fascinated by how
that sense of sublime incompleteness, which found an admirable representation
in the use of chiaroscuro, was rooted in biographical experience, reverberating
in the enigma of his sexual identity. It was especially in the morphological
whims of his drawings of storms, anatomical sections, battles and caricatures
that I identified the germ of what would become my passion for graphic
fantasies and visual inventions so familiar even to the painting of Hieronymus
Bosch, Pieter Bruegel and William Kurelek. In the same period, I found that
calligraphic wit and colour mastery in the illustrations soaked with fairy-tale
realism dedicated to the life of the Gnomes by the Dutch Rien Poortvliet, an
artist who should be counted among the greatest figurative artists of the
twentieth century. It was along this path that I finally reached the reign of
Freudian fetishes, delirious hyperrealism and atmospheric compressions by
Salvador Dali, galvanized as well by Leonardo and Bosch in the gestation of his
stylistic code. A deoxyribonucleic chain of which Leonardo will always remain
the most irreplaceable and acid "sequence".
Figueres 11-5-1904 Figueres 23-1-1989 Valle de la Sangre 23-1-2019
During the winter of 1992 I found myself walking in front of an
open-air bookshop by the seafront of Pescara. I was looking for a book
about cats. On the shelf above the volumes dedicated to felines, I saw a
cover in which a bald man seemed to look for something at his feet,
standing against a wide semi-desert landscape whose perspective receded
to the sea horizon. It was the Salvador Dali's painting "The Pharmacist
of Ampurdan seeking absolutely nothing”. And that was the cover of one
of the first monographs published after his death. By a meaningful
coincidence, someone had recently created a chalk fresco copy of Dali's
"Corpus Hypercubicus" on the near square dominated by the Pietro
Cascella's fountain "The ship". Until then I didn’t know so much about
him. At 7 I just read a brief bio in an old book while stuck in bed for
recovering from a fever. In the same period, I glanced at a framed print
of “Woman with a head of roses” in the dim light of a room in my
maternal uncle’s house. I felt there was something familiar and ominous
in the mood of that image, as if it was a slide flickering from an age
(not a different life) I lived prior to my childhood. That archaic
feeling haunted my infancy, making me enjoy more the mysteries of places
and books evoking solitude and distant past than the company of my
playmates. Sometime when I was sick and alone in my bed leafing through
artbooks, my cat stared at me from behind the glass of the French
window. Only that non-human presence was able to share and preserve the
magic of that solitude. Somehow it was fateful that, while looking for a manual about cats I ended up buying one about the quest for nothing. That enthralling Nothing was waiting to be populated by the hidden fauna swarming in the sea of Time in front of me.