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  Meduse

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  Meduse

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  Maternità

Bedussi Mirko

Mirko Bedussi was born in Brescia, Italy in 1966 and graduated at the “Accademia di Belle Arti di Brera”, in painting. During the last years of study at the Academy, still very young, he taught live drawing at the Art Institute "Caravaggio" in Italy. The years from 1992 to '96 saw the work of Bedussi in numerous group exhibitions in Italy and in 1993 he was invited to a show of great prestige at the “Palazzo della Permanente” in Milan, event that launched Bedussi in the arena of the contemporary art world and market, making him one of the represented artists of the gallery Ada Zunino....

Mirko Bedussi was born in Brescia, Italy in 1966 and graduated at the “Accademia di Belle Arti di Brera”, in painting. During the last years of study at the Academy, still very young, he taught live drawing at the Art Institute "Caravaggio" in Italy. The years from 1992 to '96 saw the work of Bedussi in numerous group exhibitions in Italy and in 1993 he was invited to a show of great prestige at the “Palazzo della Permanente” in Milan, event that launched Bedussi in the arena of the contemporary art world and market, making him one of the represented artists of the gallery Ada Zunino. His works, although medium-sized, remind and inspire large volumes: in fact, Bedussi has designed for the harbor of Catania a monumental work to be placed on the dock of the Italian city. In 2012 Bedussi came to Vecchiato Art Galleries, to be know all around the world. The making of a Bedussi’s artwork can ideally be divided into these phases: the construction of the structure, which creates the volumes and it is made by metal cages, and the subsequent application of the chalky paste. In a third (more reflective and mental) phase, Bedussi dedicates to the details and polishing of the surfaces, scratched or covered with wax, by a proceeding that has a lot to do with painting. Attracted by the essential forms of the African masks and sculptures, the artist creates human like icons, in an attitude of prayer or thanksgiving. These characters project outward and upward a great emotional and spiritual tension that it is the symbol of the soul enclosed in the works. The artworks seem almost polished by time rather than by human hand: they look like a kind of archaeological finds of the third millennium. The classically-inspired postures collide with the suffering faces and corroded materials, making the artworks look like anthropomorphic deity or of a culture that is still to come.