A L E  W H O?

Born in east Milan in 1997, attended med School at Sapienza University of Rome and 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, moving to Rome he began experimenting with different techniques of sculpture on canvas, in which the link between the artist's artistic and academic career began to become evident. The works, in fact, unique in their genre, draw inspiration first and foremost from the medical sciences, finding in artistic techniques a language closer to that of the viewer. The artist's poetics aims to accompany the viewer on a journey halfway between science and art. Between medicine and painting. Between biology and the soul. And it is precisely in the collection presented that this poetics finds its highest expression.

Light and matter, modern and ancient, on these dichotomies the artist's paintings are based. 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 pictorial medium of choice, resolutely replacing color. Thanks to the cracks, the brushstrokes of light are thus able to reach the viewer with a language that is both primordial and modern, thanks to the use of colored LEDs, guiding the viewer on a metaphorical-conceptual path and telling, through medical analogies, the indissoluble link that exists between anatomy and psyche.

All works are constructed, right from the canvas itself, entirely by the artist, also incorporating the process of construction and not only the process of creation, into the artistic message. Being manually constructed, the canvases lend a touch of fragility to the works, which, not having been fabricated by a machine leave room for human imperfections and mistakes that, after all, are part of life. Indeed, it is the artist's intention to emphasize how, nowadays, in an increasingly virtual, digital, modifiable, and therefore potentially "perfect" world for fragility there is room for acceptance only in art.