Degree: BA (Hons) Fine Art Painting
University: University of Brighton
Graduation Year: 2014
Diligence and rigour saturate Andreas Soldini's work. Constructing each irregularly shaped stretcher frame by hand and making his own oil paint - extreme thought and care provide the foundation for serendipity and the chance play of light. These works contain a distilled beauty, a purity, bringing to mind shifting glaciers and black Ad Reinhardt abstracts. His work is inspired by the female form, notions of desire and the colours seen through closed eyelids. His luxurious brushstrokes create a surface on which light can play - the shapes of the canvas retain the memory of geometry, curves and angles contrast and define.
In 2014 Soldini was longlisted for the Griffin Art Prize.
The play of light across the surface is a crucial element on which these paintings rely. It allows them to bridge a gap into the sculptural and really push the boundaries within the physicality of paint. I make the shaped stretchers and oil paint myself, and manipulate the brush to be anywhere up to one hundred and fifty centimetres long. The curved shapes originated from a base desire to build things, initially discovered through the questioning of the square and rectangle as a source of composition for painting. I find there is an interesting balance between the making of a canvas to actually painting on it. Both are acutely physical acts and revolve around desire but both require different mindsets. The logical and mechanical thinking side becomes reversed when I begin to paint. It becomes more about movement, energy and sensuality as the paint is dragged and pulled across the surface. In both stages of the process, these paintings embody an analogy of the representation that is not pictorial. Things like hair, light and the figure are all present within the paintings. The surface and form come as a response to the female figure and my own response to desire. I work predominantly in black and red oil paint, colours based around the haze that is present when I look at the inside of my eyelids. The work takes on a personal narrative that explores interiority and my own experience of the world around me.