INGRES, FABRIANO, CANSON

WORK ON PAPERS

The eclecticism of formats and mediums used by Julio Villani only accentuates the fact that his works are closely related to each other: the same line runs through them. Traced in charcoal on canvas, stitched on old sheets (“embroidered drawings”, as the artist calls them), stretched by a plumb or deployed in space when made sculpture, it travels across the entire work.

The color – often in flat tints – sometimes joins the line, sometimes evicts it from the plane. Together, they render the borders unstable, set creation in motion, and open the way to poetic overlaps.

Paper is their primary laboratory.

Whether chosen for its hues (Ingres) or its body (Fabriano), for its transparency (the Chinese Fanxuan, the Japanese Washi) or for the roughness of its surface (Italian recycled paper, brown and thick), it is here often assembled several sheets at a time.

Drawn in graphite, articulated around knotty points, the line sometimes builds fragile, wobbly structures: pull a thread and the building collapses. Obtained by scissor strokes, it creates, by monochromatic superpositions, ethereal constructions.

And from time to time, it escapes from the plan, goes on to fold up the edges of the sheet which shelters it, forming a smiling and graceful piece, which hesitates between volume and flatness, between drawing and sculpture; an in-between consubstantial to Villani’s work.

Retour

LARGO DO SAPO | Paper and oil on Ingres paper | 43 x 64 cm | 2006

GALOPERA 2 | Paper, pencil and oil on Ingres paper | 48 x 63 cm | 2016

MATINÉE | Paper, graphite and oil paint on Ingres paper | 31,7 x 24 cm | 2013

ESPINOSA | Paper, pencil and acrylic on Ingres paper collage | 87 x 82,5 cm | 2015

PING PONG | Paper, pencil and oil on Ingres paper collage | 48 x 64 cm | 2013

GARDEN | Paper, pencil and oil on Ingres paper | 24,5 x 45,5 cm | 2012

EMINENCE GRISE | Paper, graphite and oil paint on Ingres paper | 47 x 24 cm | 2016

UNTITLED | Paper, pencil and oil on Ingres paper | 48 x 64 cm | 2013

TENSION | Paper, thread | 2012

TENSION | Paper, thread | 43 x 64 cm | 2015

AROUND | Paper, graphite and oil on Ingres paper | 31,7 x 47 cm | 2015

SUPPORT | Paper and oil paint on Ingres paper | 48 x 64 cm | 2007

JANUARIA RECLINED | Paper and oil on Fabriano paper | 67 x 103 cm | 2008

NOVEMBER FLOWER | Paper and oil on Fabriano paper | 67 x 103 cm | 2008

PORTAL | Paper and oil on Ingres paper | 48 x 64 cm | 2008

FULL HOUR LANDSCAPE | Paper, graphite and oil on Canson paper | 2011

LIBRARY | Paper, graphite and oil on Ingres paper collage | 48 x 64 cm | 2007

SUPER 8 | Paper and oil on Ingres paper | 48 x 64 cm | 2007

TOUR DE FORCE | Paper, charcoal, crayon and oil on Ingres paper | 48 x 63 cm | 2018

WORK ON PAPERS

The eclecticism of formats and mediums used by Julio Villani only accentuates the fact that his works are closely related to each other: the same line runs through them. Traced in charcoal on canvas, stitched on old sheets (“embroidered drawings”, as the artist calls them), stretched by a plumb or deployed in space when made sculpture, it travels across the entire work.

The color – often in flat tints – sometimes joins the line, sometimes evicts it from the plane. Together, they render the borders unstable, set creation in motion, and open the way to poetic overlaps.

Paper is their primary laboratory.

Whether chosen for its hues (Ingres) or its body (Fabriano), for its transparency (the Chinese Fanxuan, the Japanese Washi) or for the roughness of its surface (Italian recycled paper, brown and thick), it is here often assembled several sheets at a time.

Drawn in graphite, articulated around knotty points, the line sometimes builds fragile, wobbly structures: pull a thread and the building collapses. Obtained by scissor strokes, it creates, by monochromatic superpositions, ethereal constructions.

And from time to time, it escapes from the plan, goes on to fold up the edges of the sheet which shelters it, forming a smiling and graceful piece, which hesitates between volume and flatness, between drawing and sculpture; an in-between consubstantial to Villani’s work.

Retour

LARGO DO SAPO | Paper and oil on Ingres paper | 43 x 64 cm | 2006

LARGO DO SAPO | Paper and oil on Ingres paper | 43 x 64 cm | 2006

GALOPERA 2 | Paper, pencil and oil on Ingres paper | 48 x 63 cm | 2016

MATINÉE | Paper, graphite and oil paint on Ingres paper | 31,7 x 24 cm | 2013

ESPINOSA | Paper, pencil and acrylic on Ingres paper collage | 87 x 82,5 cm | 2015

PING PONG | Paper, pencil and oil on Ingres paper collage | 48 x 64 cm | 2013

GARDEN | Paper, pencil and oil on Ingres paper | 24,5 x 45,5 cm | 2012

EMINENCE GRISE | Paper, graphite and oil paint on Ingres paper | 47 x 24 cm | 2016

UNTITLED | Paper, pencil and oil on Ingres paper | 48 x 64 cm | 2013

TENSION | Paper, thread | 2012

TENSION | Paper, thread | 43 x 64 cm | 2015

AROUND | Paper, graphite and oil on Ingres paper | 31,7 x 47 cm | 2015

SUPPORT | Paper and oil paint on Ingres paper | 48 x 64 cm | 2007

JANUARIA RECLINED | Paper and oil on Fabriano paper | 67 x 103 cm | 2008

NOVEMBER FLOWER | Paper and oil on Fabriano paper | 67 x 103 cm | 2008

PORTAL | Paper and oil on Ingres paper | 48 x 64 cm | 2008

FULL HOUR LANDSCAPE | Paper, graphite and oil on Canson paper | 2011

LIBRARY | Paper, graphite and oil on Ingres paper collage | 48 x 64 cm | 2007

SUPER 8 | Paper and oil on Ingres paper | 48 x 64 cm | 2007

TOUR DE FORCE | Paper, charcoal, crayon and oil on Ingres paper | 48 x 63 cm | 2018

WORK ON PAPERS

The eclecticism of formats and mediums used by Julio Villani only accentuates the fact that his works are closely related to each other: the same line runs through them. Traced in charcoal on canvas, stitched on old sheets (“embroidered drawings”, as the artist calls them), stretched by a plumb or deployed in space when made sculpture, it travels across the entire work.

The color – often in flat tints – sometimes joins the line, sometimes evicts it from the plane. Together, they render the borders unstable, set creation in motion, and open the way to poetic overlaps.

Paper is their primary laboratory.

Whether chosen for its hues (Ingres) or its body (Fabriano), for its transparency (the Chinese Fanxuan, the Japanese Washi) or for the roughness of its surface (Italian recycled paper, brown and thick), it is here often assembled several sheets at a time.

Drawn in graphite, articulated around knotty points, the line sometimes builds fragile, wobbly structures: pull a thread and the building collapses. Obtained by scissor strokes, it creates, by monochromatic superpositions, ethereal constructions.

And from time to time, it escapes from the plan, goes on to fold up the edges of the sheet which shelters it, forming a smiling and graceful piece, which hesitates between volume and flatness, between drawing and sculpture; an in-between consubstantial to Villani’s work.