Paolo Pilotti

Paolo Pilotti is a volcanic artist who overwhelms us with faces and characters suspended between sacred and profane: Madonnas in total Vuitton look, powerful men in lingerie and Biancanevi who, in spite of the fable and his atavistic machismo of the woman who needs to be saved, throw away the apple and choose to eat a banana.

His Snow Whites prefer eating bananas rather than the poisoned apple, outwitting the male chauvinism behind the fairy-tale where women are always waiting for a man to be saved.

Paolo Pilotti’s art, like Dante’s Divine Comedy, can be doubly interpreted. Iconic and masculine heroes, unrecognizable after Botox and filler’s sessions are frilly and light weighted and requires a really low intensity reading level to be understood. They make us laugh, they encourage the public to have fun and succumb to pleasure’s lure.

Spiritually because, for Paolo Pilotti, " art is a dogma, it is like the Trinity for Christians where art is God, the artist the son and his work the Holy Spirit, sent by both to save man ”.

Spiritually because, as he claimed, art is like the Cristian trinity’s dogma where art is the Lord, the artist is the Savior and the artworks are the Spirit sent down the the Earth to save the humankind.Carnally because for Paolo Pilotti making art is essential as breathing. Art is a vital organ without which the artist can not survive.

Moved by this compelling love for art, Paolo Pilotti began left-handed drawing when he was just three years old, endorsing the common belief according to which left-handed people are clever that the average. After the art diploma, he took painting degree at Fine Arts Academy and started his career.

Behind his artistic universe, inhabited by funny and cheeky gender and sexuality’s reversals that surprise and outrage the public, without being vulgar, there are strong social purposes. The artist aspires to gender balance and equity or, even more, to gender’s disappearance. He dreams about a crushing defeat of Patriarchism and sexism that meander hidden by bourgeoise’s hypocrisy and the politically correct style.

Paolo Pilotti he plays with psychoanalysis, with drives, giving life to paintings that invite his audience to free themselves from the shackles of conventions and give vent to their own nature. Not for nothing, in one of his most iconic paintings, Freud is portrayed half a man, in a suit and tie complete with a cigar, and half a woman, in high heels and stockings.

The art of Pilotti declares war on those who claim the right to judge and, precisely in the name of universal freedom, upsets the classic canons of artistic beauty.

Botox and filler’s excessive faces replace Fidia, Michelangelo and Leonardo’s ideal of beauty mirroring, depicting and celebrating our society’s vices and virtues.

Paolo Pilotti’s artworks are tremendously human and divine at the same time and they succeed in honestly speaking about the humankind. That’s why we love them so much.

His paintings stylistically stage a frantic ballet that reminds of Skopas’ Dancing Maenad, a lurex and latex whirlwind mixed with a pin up and precious fabric veiled nudities.

Looking at his art is like attending a fashion show front row seated, wearing big sunglasses a bit because is glam and a bit to cover the night before excesses. Or maybe to hide the tears for the last catastrophic Tinder date.