Walter Passarella was born on 7 August 1960 in Mortara (PV) where he lives and works.
He completed his higher studies at the State Institute of Art of Valenza PO, obtaining the diploma of Master of Art. Since then his artistic activity has begun, obtaining considerable acclaim from critics and the public.
His attention immediately focused on the human and social dynamics that have become the main theme of his research. It can be said that the artist is intent on the continuous search for a "Vitruvian Man" but exclusively from a philosophical and spiritual point of view of the same.
In his artistic career, he not only makes use of the pictorial medium, but also of sculpture with different materials, photography and the creation of sets for theatrical performances. He also illustrated the cover of the book "Il girotondo del piccolo uomo" by the writer Lorenzo Fizzotti Degrati.
Works by him are present in private collections in Rome, Milan, Modena, Bari, Turin, Tokyo, Paris, London, the Principality of Monaco, Bologna, the Pontifical Shrine of Pompeii, Geneva, Boston, Miami.
SEE ALL ARTWORK BY WALTER PASSARELLA
To approach those who are the movements of thought of those who, like the artist Walter Passarella, put themselves bare in measuring themselves with what we could define as fixed partitions of situations in our life, we must start from some considerations. The most important is valid for every artist and for any form of art, both for those who produce and offer it and for those who then stop and appreciate it. It is about humility. Yes, the humility that leads both one and the other to prepare their soul in the right way, ready to accept universal codes, present everywhere, and that leads others to grasp their own message, through the emotions that the artist captures and transfers into one's work. Humility for the artist must also be understood as the awareness of being able to do, I would almost say of "having" to do, and do it in the way suggested by one's soul which, not surprisingly, is different in sensitivity to perceive, in the ability to process , translate and transfer emotions.
The task is arduous, already in absolute value, already for itself.
The material makes it extremely tortuously fascinating.
The weather. What other reason and how much more could this topic overcome in vastness of stimuli, suggestions, challenges, suggestions?
Absolutely nothing. Time stimulates and requires attention and the artist, who has the skills to stand up to comparison, proposes it with images that, despite their own stillness, transmit an inseparable dynamism, as belonging to the nature of what the artist proposes to us. That dynamism which is the true essence of time. There are works that honor the great humility and sensitivity of the author, precisely with that restlessness with which they place themselves in a provocative, sometimes extremely provocative attitude, so much so that they are perceptible even when, once the image is fixed in the mind , the observer decides to turn his gaze elsewhere. These are works that have had an extra gift from the author; they had the opportunity to carry out the message stolen and entrusted to them in total autonomy. We never find ourselves wondering what the author means, but rather we feel as if we, observers, are being questioned by these same works; almost they have been endowed with the ability to interact at the level of communication and not just to transmit a simple message. One almost has the feeling that the author has then put himself aside, letting the work itself be completed with this ability that he has instilled. Some works in particular reveal a complex and complete structure of thought; these are works with which, at times, it seems not at all impossible, and not even strange, to have a dialogue with them. Probably it is an unconscious and involuntary communication between what the artist has stolen from the universe and transferred into his works and what similarly lives inside anyone of us who sets himself to observe. The weather.
It is always, it is everywhere and this nature of it binds everything to everyone in a journey that may never have begun and consequently may never end.
MARCO BERTOLONI - Writer
Inauguration of the “Faber Tempus” exhibition at the Castle of Zavattarello (Pv) 24 July 2010
PERCEPTIONS OF TEMPORARILITY
Between reality and postmodern historical, artistic and aesthetic debate regarding the figurative is a topic of the last 30 years or so.
In the aftermath of the trans-avant-garde it was understood that the figurative had an important role and was re-oiled within the avant-garde artistic movements. For Italy it was fundamental, the Italian artistic culture has had a figurative language for 4000 years and retaining the figurative as belonging to the avant-garde movements meant redefining an artistic space. It is necessary to add the definition of the avant-garde figurative, that is, of that particular transversal point of view that cuts the work obliquely, and it is the fundamental element otherwise it is not clear why the works are still asked and asked today. figurative art to propose a different, unusual point of view. If we consider the hyper-realistic sculptures of Cattelan or Damien Hirst, we are able to grasp the essence that has led the post-modern to be the symbolic avant-garde movement of recent years. A work like that of Cattelan entitled la IX now expresses in a fragrant way the aspect outlined so far, the figure represented with a very strong adherence to the real datum, and the absolute contemporaneity in the point of view that attracts us, amazes us and it makes us reflect by responding to the fundamental postulates of the definition of a work of art. The works exhibited in the international exhibitions in Tokyo and Osaka in July of this year fully show the definitions described above, and at the same time add a fundamental piece to the debate on postmodernism. The artist uses the collage technique, of Rotellian memory, integrates it into the work of art together with other figurative and photographic pictorial components, does not try to increase the gap between the parts that make up the work but rather emphasizes its elective affinities.
Walter Passarella is an alchemical demiurge, he uses the elements of contemporary art, digests them through Italian culture and generates a new work of art, giving us proof of how one can be contemporary through one's roots.
The works of the artist Passarella must be looked at for several minutes, you cannot be bystanders in front of his work, you have to look at them in depth only so you can understand the fragrance, the balance, the use of such harmonious color, the citations of the past and the cyclical rhythm.
Walter Passarella in his works of art creates caskets full of secrets, filled with that fundamental past in social history, which the human being cannot do without, on the contrary, it turns out to be the only way, in his hands, to understand the future. The compositions have a broad scope, they show us characters, settings, atmospheres, they are an encyclopedia of the artist's visual perception and the space-time he occupies.
The painstaking work carried out on each work refers to an art of chiselling, of ancient memory and the history of art knows how important it is to know how to do; allows the artist to shorten the gap (the space) between the formulation of the image and the constitution of the object, a primal element for the creation of a work.
Walter Passarella deserves the credit for having understood this, for having a goal above all to compose works of art that like a piece fill a puzzle depicting the artistic scenario between reality and post modern.
FRANCESCO ELISEI - Independent Curator of the "Nature and Dreams" Pavilion at the 53rd VENICE BIENNALE 20 September 2009
2013 Solo show "Around you, around me" Space 48 Solferino (Milan)
2013 Photo exhibition "Queens" Castle of Sartirana (PV)
2012 Solo exhibition at the Magma Museum within the event "Proposals for a 2012 collection" (Teano)
2010 Solo exhibition "Faber Tempus" - Museum of Contemporary Art, Dal Verme Castle, Zavattarello (Pavia)
2010 Personal - Multifunctional Space, Varese
2009 Solo exhibition - Palazzo Ludovico il Moro, Mortara
2009 Solo exhibition - Lomellino Cultural Center, Mortara
2007 Solo exhibition - Castello Sangiuliani, Mede
2007 Personal exhibition "Fenêtre sur la société" - Galerie Art et Miss, Paris (France)
2006 Solo exhibition - Galerie Christine Colas, Paris (France)
2004 Solo exhibition - Telemaco Signorini Room, Portoferraio (Elba Island)
2002 Solo exhibition - Art Cafe Doimoi - Melegnano (MI)
2001 Solo exhibition - Studio Jelmoni Gallery - Piacenza
2001 Solo exhibition - Art Space Image Gallery - Cremona
2001 Personal - Hotel Plaza, Nice (France)
2000 Personal exhibition at Petrofil Arte Gallery - Milan
1998 Personal exhibition at La Telaccia Gallery - Turin
1989 Personal exhibition at La Telaccia Gallery - Turin
2021 collective "Deep in soul" Spazio Tolomeo Milano
2019 collective "Have you eaten?" Casale Monferrato castle (AL)
2018 "Biennial of contemporary art" Trivero (Biella)
2018 "Art heresy" Pray wheel factory (Biella)
2017 "Emerging contemporary art" Mazzoleni Foundation (Bergamo)
2016 "Languages in dialogue" Galleria Lazzaro by Corsi (Milan
2015 "Nature" Galleria Lazzaro by Corsi (Milan)
2014 Participation in Art Market Budapest
2014 Participation of Arte Bergamo
2014 Participation A.A.F. Affordable Art Fair (Milan)
2013 Collective "Self-awareness" Studio Orygma (Milan)
2013 Collective exhibition "Tools-Space-Art" Raffaello Giolli art studio (Milan)
2013 Participation A.A.F. Affordable Art Fair (Milan)
2013 Participation of Arte Piacenza
2013 Participation in Art Marketing Budapest
2013 Participation in the Cremona Art Fair
2012 Collective Art Space Gavi (Gavi)
2012 Collective "Crystals" Oro Art Studio (Milan)
2012 Participation in the "Don’t be alone" exhibition, Museum of Reclamation - Cà Vendramin, Taglio di Po (Rovigo).
2012 Participation in the "Art Innsbruck" Contemporary Art Fair - Innsbruck (Austria)
2011 Participation in the "Arte Expo" Contemporary Art Fair - Arezzo
2010 Collective “Contemporanea” - Gnaccarini Gallery, Bologna
2010 Collective exhibition "The art of escape" - Castello del Maschio Angioino, Naples
2010 Scenography for the play "La porta del tempo"
2009 Collective "Italian Feeling" - Tokyo (Japan)
2009 Scenography for the theatrical show "Nord e Velieri"
2008 Collective “Urban War” - Color Image Gallery, Genoa
2008 Collective exhibition "The unawareness of being" - Galleria Scola, Palazzo Peloso Cepolla, Albenga
2008 Collective exhibition “Proposals for a collection” - Maui Museum, Teano
2008 Collective - Circolo Culturale Lomellino, Mortara
2006 Collective - Galerie Art Présent, Paris (France)
2006 Collective exhibition “ANTICHI PALAZZI: Land for free men” - Palazzo Martinengo, Sondrio
2005 Collective - Gallery 47, London (Great Britain)
2005 Collective - Galerie Art et Miss, Paris (France)
2005 Collective - Galerie du Dragon, Mons (Belgium)
2004 Collective - Ass. Cult. Art Annotations, Milan
2004 Collective - Sala Duomo Carpi, Modena
2004 Collective - Palazzo Chiesi, Acquasparta (Terni)
2002 Collective exhibition - Stefano Cortina Gallery - Milan
2001 Collective exhibition - Petrofil Arte Gallery - Milan
2000 Participation in the Art Jonction international art fair - Nice
1999 Participation in the International Art Fair Art - Padua
1989 Participation in the international art fair Expo Arte - Bari
1988 Participation in the international art fair Expo Arte - Bari
1988 2nd prize "La Telaccia d’oro" - Turin
1987 Participation in the international art fair Expo Arte - Bari
1986 1st prize "La Telaccia d’oro"
ACCA Yearbook of Modern Art 2000
Padua Art Catalog 98
Padua Art Catalog 99
Expo Arte Bari Catalog 99
Expo Arte Bari Catalog 89
Expo Arte Bari 88 Catalog
Arezzo Art Catalog 2011
Art Market Budapest 2013 catalog
Art Market Budapest 2014 Catalog
ART in the KITCHEN published by Mondadori 2021
L.I.ART international art magazine 2014
Milan Art Quotes magazine 2017
Luxe Immo magazine of art and luxury 2011
Euroarte art magazine 2016
The quarterly review of culture 2008