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Today SLT 13
LANDMARK
LANDMARK
Talking about art in a community dedicated to the development and BDSM culture is possible. According to Saturno Buttò, in fact, art and eroticism are the expressions of a culture that evolves through the ages.
The individual erotic potential, using again Butto's words, often draws by fine art and it provides to unlimited erotic variations. In our research we had already revealed an artist, Félicien Rops, who at the end up on the nineteenth had provided a vision of eroticism to the diabolical limits.
The limit, often seems to be the goal to overcome for many artists.
Moral limits, conventional limits, of thought, philosophical limits, and prejudice. We have found the same demoniac volition to overcome limit in Saturn Buttò's works. Between our personal considerations about his art there is the emergence of a baroque strength, a tension between ecstasy, torment, pleasure. The skulls, the death image as a constant guide, show precisely that seventeenth-century vision, replacing the tortures of the Inquisition with modern torture of the current BDSM. His way of working is very reminds of that of the classical painters of European religious painting. His technique involves the preparation of detailed photo sets from which he then derives the painted work. A similar process, it seems, was already in use before the invention of the camera. From recent studies it seems that Caravaggio himself portrayed his models by a darkroom as, later, Canaletto will use for its landscapes.
The individual erotic potential, using again Butto's words, often draws by fine art and it provides to unlimited erotic variations. In our research we had already revealed an artist, Félicien Rops, who at the end up on the nineteenth had provided a vision of eroticism to the diabolical limits.
The limit, often seems to be the goal to overcome for many artists.
Moral limits, conventional limits, of thought, philosophical limits, and prejudice. We have found the same demoniac volition to overcome limit in Saturn Buttò's works. Between our personal considerations about his art there is the emergence of a baroque strength, a tension between ecstasy, torment, pleasure. The skulls, the death image as a constant guide, show precisely that seventeenth-century vision, replacing the tortures of the Inquisition with modern torture of the current BDSM. His way of working is very reminds of that of the classical painters of European religious painting. His technique involves the preparation of detailed photo sets from which he then derives the painted work. A similar process, it seems, was already in use before the invention of the camera. From recent studies it seems that Caravaggio himself portrayed his models by a darkroom as, later, Canaletto will use for its landscapes.
Parlare di arte in una comunità dedicata allo sviluppo e alla cultura BDSM è possibile. Parafrasando lo stesso Buttò, infatti, arte ed erotismo sono le espressioni di una cultura che si evolve attraverso le epoche. Il potenziale erotico individuale , usando ancora le parole di Buttò, attinge spesso dall’arte figurativa e dalle infinite variazioni erotiche che essa fornisce. Nella nostra ricerca era già emerso un artista, Félicien Rops, che sul finire dell’ottocento forniva una visione dell’erotismo ai limiti del diabolico. Il limite, spesso, sembra essere l’obbiettivo da superare per molti artisti. Limiti morali, convenzionali, di pensiero, di filosofia, limiti del pregiudizio. La stessa volontà demoniaca di superamento del limite l’abbiamo ritrovata nell’opera di Saturno Buttò. Tra le nostre considerazioni personali sulla sua arte c'è l'affiorare di una forza barocca, una tensione tra estasi, tormento, piacere.I teschi, l'immagine della morte come monito continuo, ci hanno riportato proprio a quella visione seicentesca, sostituendo le torture della inquisizione con le torture moderne caratteristiche dell'universo BDSM. Il suo modo di lavorare ricorda molto quello dei pittori classici della pittura sacra europea.La sua tecnica prevede l’allestimento di dettagliati set fotografici da cui poi egli ricava l’opera dipinta. Un procedimento analogo a ben vedere, pare fosse in uso già prima che inventassero la macchina fotografica. Da studi recenti pare che lo stesso Caravaggio ritraeva i suoi modelli da una camera oscura come più tardi farà Canaletto per i suoi paesaggi.
