BIOGRAPHY
Antonello Diodato Guardigli – also known as ADGART– focuses all his energy through matter, dedicating himself to the impulsive abstract, an art that comes from the anger and rebellion he carries inside.
Born in Salerno but raised in Forlì in the heart of Romagna, Guardigli has been passionate about visual art since he was a child, so much that he made it a reason for living in all fields. Indeed, in addition to being an artist, he is the Director of the Lombard headquarter of the European Union of Art Experts Association, Deputy Director of “Gianni Bellini” Civic Museum of Art and Territory in Sarnico and President of Galleria DuePuntoZero.
Among his countless works, part of prestigious private and institutional collections, are of particular importance “il Volto Del Cristo”, donated to His Holiness Benedict XVI, the work “150°”, donated to the former Italian President Giorgio Napolitano and “la Sacra Sindone”, donated to the Church of Santa Maria dei Barbuti (Salerno, Italy) built by the great architect Paolo Portoghesi in 1971, when the Holy Shroud was exposed in 2010.
A.D. Guardigli also claims several important participations: in 2011 he exhibited at the 54th Venice Biennale – Italian Pavilion, held in Milan at the “King’s rooms” in Galleria Vittorio Emanuele while in 2015, in collaboration with Expo Milano, his works were exhibited at the International Contemporary Art, an event curated by the Italian Art critic and historian Doctor Giorgio Gregorio Grasso. The year 2016 saw him as the protagonist in the side exhibition of the project “The Floating Piers” by the famous artist Christo with the original work “Omaggio a Igor Mitoraj” and in the prestigious Carousel du Louvre in Paris, with the work “Blu Orizzonte”. He was a guest of the Armenia Pavilion at the Venice Biennale in 2017 while in December 2018 he donated an artwork in celebration of the “Velolibero” event at the Amleto and Donato Sartori International Mask Museum at Abano Terme (Italy).
ARTISTIC WORK
By inventing his world in his paintings, ADGART creates something that doesn’t necessarily have to be realistic. He tries to create harmony in a formal and colorful compositional creation. If our eye tries to figure out a situation, to share a concrete reality, ADGART refuses simplified access to the viewer. The whole picture is way more important than the realization of the single particular elements. This painting is abstract – both in the figurations and in the “still lifes”. In his world of painting, the objects are not precise but only sketched.
The viewer must get to the object: the figuration in his imagination.
This sets in motion a communication process.
ADG invents different plans that penetrate each other, creating a “creative irritation”.
ADG plays with the perspective and with the position of particular objects that remain indeed opaque.
In his abstractions there are inventions reminiscent of Pompeian painting – magical paintings with a Mediterranean expression.
ADG works with intuition, the only way to create something new.
The background from which this painting grows are unknown experiences.
“Everyone finds only this in art, something that his soul had already prepared in advance.” In this idea lies the inexhaustible force of art and the mystery of ADGART creations
His painting is based on the aesthetics of objects and the relationship between them.
His figurations are created from the depth of his experiences and adventures and meet the emotions of the viewer.
ADG shows new truths, which are outside our perception.
These silent paintings are filled with magic – a magic of the soul
Prof. J.G. Schimmelpenninck
Akademie f. Gestaltung Köln
