Mi piace pensare al lavoro che svolgo come ad una ricerca: sono interessato al modo in cui ogni essere vivente costruisce il proprio universo percettivo, a come successivamente lo interpreta filtrando la percezione attraverso i sensi della propria specie.

Sentiamo e raccogliamo dall’ambiente molto più di quanto la ragione ci suggerisca. L’intento che mi pongo è quindi quello di dipingere cercando di enfatizzare ciò che la mente tende a scartare nel descriverci la realtà: l’energia e il modo in cui fluisce all’interno di un corpo, statico o in movimento.



I like to think about the work I do such as a search: I'm interested in how each living being creates its own universe of perception, how then interprets it by filtering the perception through the senses of the own species.

We can feel and gather from the environment much more than the reason suggest us. So the intention that I pose is to paint trying to emphasize what the mind tends to discard in describing reality: the energy and the way in which flows into a body, moving or static.





IN THE STUDIO

Extract from “meeting with Davide Clemente” by Vera De Martino, during the solo exposition in Artouverture Gallery, february 2009.

His studio is located in a basement in the suburbs of Milan, where there is no more place, where space to hang and systemize the paintings has long exhausted. In addition to a chaos of paintings, frames, brushes and spatulas, everywhere there are scattered books, magazines, newspapers and photographs of all kinds. As soon as I entered, he had to free up an old armchair from a few frames for create a seat for me.

While I’m looking around me, I have the impression to be observed by all these persons on the walls. As I look around, I get the feeling of being watched by all these characters on the walls; it's like to feel the presence, the company of these people. The bodies have a shape and a volume that seem to be a living presence.  In all faces the look is the focal point, that lead the viewer to the meaning; the eyes are open or half closed, rarely turned to the viewer, rather tend to a point outside, close to the figure and close to us, making us precisely integral part of the picture.

This selection of works represents a significant part of the artist's production, which over the years has developed great skill and fluency in composition, thereby presenting a uniform work and of research at the same time, which tends to trap harmonically movements and situations of our present. Indeed dynamism, energy and volume emerge, elements represented with the large format of the paintings and with the sintetic and incisive range of colors used as well as with the strokes net, bright and sophisticated.

V.D.M. “It 'evident your passion for "the human being," the central role that the person has for you outside of a context. The setting, if present, is very essential, almost bare-bones.”
D.C. “Let's say that I prefer the narrow fields, but it is not a dogma. I try to go through a sensory channel, emotional rather than rational. Like when you hear a song you like in a language you do not know, at that point the voice is nothing but a tool. You lose the logical sense of the meaning, but you leave open an emotional channel that receives a lot more things. To do this I need to summarize as much as possible. To do interact with the space the figure, requires a totally different approach: a more artificial and mechanical structure, while I paint the wake of impulsivity. When I happen to lose that push, usually, I can not finish the framework.”

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