‘The Credit Card Collection’ Ray Piscopo’s latest exhibition
Ray Piscopo’s recent collection of artwork comprises an intriguing technique that involves a distinctive method of paint application through scraping. This approach, utilizing credit cards as the primary tool for application, provides an interesting narrative behind the collection named The Credit Card Collection.
The frequency of exhibitions, being the fourth one in a year, showcases the artist’s commitment to displaying his art publicly and highlights his productivity and dedication to his style and technique.
The artist’s utilization of a scraping technique using various tools like brushes, pieces of wood, or palettes to manipulate the paint on paper or canvas suggests an experimental and tactile process. The choice of credit cards as a predominant tool adds an innovative twist to the traditional methods of applying paint, showcasing the artist’s resourcefulness and willingness to explore unconventional means of creation.
The connection drawn between the artist’s technique and the practices of established artists like Gerhard Richter and Hubert Scheibl, who also employed scraping techniques, hints at an exploration of artistic lineage and influences. This connection with renowned artists suggests a level of artistic dialogue and evolution within the medium.
The reference to specific works, such as No Country for Old Men 1, 2, and 3, reveals an interesting influence drawn from the masterclass experience with Austrian artist Hubert Scheibl. The inspiration drawn from the film No Country for Old Men and the subsequent creation of works in response to this inspiration offers a glimpse into the artist’s ability to translate cinematic themes into visual art.
Overall, the artist’s exploration of the scraping technique with credit cards, the thematic inspirations from film, and the association with established artists provide a compelling narrative to the collection. Yet, the decision to withhold public exhibition of these works before this recent showing remains an intriguing aspect that could be further explored or elucidated in the artist’s narrative.
For instance, Cassius features a bust of the renowned Roman leader outlined in black against a backdrop of light blue. The striking element comes from vibrant green paint swipes that infuse the piece with a sense of dynamism and modernity while still paying homage to the historical figure.
Braveheart captures the essence of a wild horse in full motion across vibrant orange hues, employing a black, Japanese-style execution that creates a fusion of traditional and contemporary artistic approaches. This portrayal not only conveys movement and energy but also invokes a sense of cultural fusion.
Interestingly, amidst the abstract compositions, a few landscapes are presented in an expressionist manner, employing arbitrary colours to evoke emotions and impressions rather than precise representation. These pieces challenge viewers to explore the landscapes through the lens of the artist’s emotional interpretation rather than strict realism.
A notable inclusion in this diverse collection is The Sower, a figurative painting depicting a farmer working traditionally. This piece stands out amidst the abstraction, offering a clear representation rooted in tradition, inviting viewers to contemplate the intersection between modern artistic exploration and timeless, classical themes.
However, while the artist has shared some of these works on social media, the fact that they have not been exhibited publicly until this recent exhibition raises questions about the artist’s motivation for withholding these pieces. Perhaps there’s an intentional build-up or a carefully considered moment for unveiling this particular body of work.
Ray Piscopo’s exhibition showcases a skilful balance between abstract experimentation and representational prowess, encompassing varied subjects and styles that engage viewers on multiple levels. This diverse range of works invites audiences to delve into the artist’s multifaceted creative world, spanning from historical allusions to contemporary expressions of form and colour.