Gianluca Sità

Gianluca Sità is a neo-symbolist painter, born on September 6, 1979 in Mammola, Italy. He studied painting and graduated from l’Accademia di Belle Arti (Academy of Fine Arts) in Rome. He currently lives and works in Rome. His passion for romantic-symbolist painting led him to be inspired by artists such as Böcklin, Friederich, Von Stuck, Segantini. Rooted in a traditional view of painting and having as its core the link between beauty and quality, his work opens up to new and innovative levels of interpretation that originate from the masters of the past. His latest solo show “Le forme del Silenzio” (The Shapes of Silence) was held in 2017 at the “Museo della Città e del Territorio” (Museum of the City and Territory) in Narni (Tr). His work has been review by: Roberto Bilotti Ruggi d’Aragona, Silvia Bordini, Lorenzo Canova, Claudia Colasanti, Tommaso Evangelista, Giorgio Di Genova, Lidia Reghini of Pontremoli, Carla Mazzoni, Marilena Morabito , Robertomaria Siena.

His artworks are part of private collections in Italy as well as abroad.

Critics Reviews.

“The naturalism of Sità is a verse, a mental journey into description, the search, through the slightest sensible appearances of things, of a divergent openness, a new wave and undefined perspective through reality, as observed in transparency, tells of a silent and melancholy world of the spirit. […] Sità, works in a minimalistic fashion – “by taking away” – opening (mental) spaces, making allusions but avoids showing, hiding by trying to overcome that “dark night” that has always clouded the certainties of mystics, but which was never perceived as the absence of Truth but rather as a necessary and uncertain path before an explosion of light … ” Tommaso Evangelista, art critic. “The scenography of Time: Gianluca Sità’s post-modern Arcadia” 2019.

“The composition is almost always based on a dominant element at the center of a bilateral symmetry […] It is not just about iconographic references but suggestions; details, often magnified and out of scale with respect to the coordinates of the space in which they are found, to indicate the enigmatic side of the myth. The significance of the evocation with respect to the description and the subversion of the codified relationships between figure and background contributes to it. So much so that if the symbolic subject of Sità’s paintings refers to the story of myths and metamorphoses, the ways in which he decides to depict them rather recalls what happens after the metamorphosis: the interval following the transmutation of bodies and thoughts, when legends emerge.” Silvia Bordini, art critic. 2017.

“The landscape as an interior place, myth and nature that are intertwined in a painting inclined towards a new symbolism: Gianluca Sità finds elements of the great period between the end of the nineteenth and the beginning of the twentieth century to recompose them in an innovative fashion within a visual in which the tradition of great Nordic painting and Italian art come together in a body with enigmatic features. […] Sità’s painting lives in an illuminated space where the horizon cuts like a blade, visions of lightness and cruelty, of death and splendor, defined by the artist through a meticulous style based on the “ancient” structure of a drawing that the painting renders full of premonitions and melancholy. ” Lorenzo Canova, art critic. “In the lands of loss” 2015.