A L E  W H O?

Born in east Milan in 1997, he attended medical school at Sapienza University of Rome and is currently working as an anesthesiology and intensive care medicine resident. He lived his childhood and adolescence between Padua, London, and Madrid. In the latter, he approached painting for the first time, immediately revealing his interest in abstractionism. Enraptured from the beginning by action painting and dripping, he began experimenting with different techniques of sculpture on canvas after moving to Rome. It was at this point that the link between his artistic and academic careers began to become evident.

The works, unique in their genre, draw inspiration primarily from the medical sciences, finding in artistic techniques a language closer to that of the viewer. The artist’s poetics aim to accompany the viewer on a journey halfway between science and art, between medicine and painting, between biology and the soul. It is precisely in the collection presented that this poetics finds its highest expression. Light and matter, modern and ancient, form the basis of the artist’s paintings.

Through the use of stucco and the resulting formation of craquelure, Stronati transcends the barriers of the two-dimensional medium, reaching the viewer beyond the pictorial plane. Fascinated by craquelure, the artist integrates its aesthetics with the use of light, which, through the cracks, becomes the primary pictorial medium and replaces color. Thanks to the cracks, the brushstrokes of light are able to reach the viewer with a language that is both primordial and modern. The use of colored LEDs guides the viewer on a metaphorical and conceptual path. Through medical analogies, the artist tells the story of the indissoluble link that exists between anatomy and psyche.

All works are constructed entirely by the artist, starting with the canvas itself. This means that the process of construction, and not only the process of creation, becomes part of the artistic message. Being manually constructed, the canvases lend a touch of fragility to the works. Since they are not fabricated by a machine, they leave room for human imperfections and mistakes that, after all, are part of life. It is the artist’s intention to emphasize that, in today’s increasingly virtual, digital, and modifiable world, which is therefore potentially “perfect,” fragility can find acceptance only in art.