Mauro Di Francescantonio alias "Maurocaribe" was born on 1962 in Popoli, Abruzzo, Italy.
Self-taught by nature, he is noted for painting abilities at the young age of 11 withthe 1 st prize in the competition (Extemporaneous young painters) town of Popoli,Abruzzo in 1973.
After studying art and is dedicated to drawing with watercolor landscapes and views of its land, water and reflections on wet roads are recurring themes in the works of that period. Then begins the abstraction, action painting, outside the traditional academicism, working through a journey of emotions, loves the action,while the creative energy on shaped canvas.
Mixed media, acrylic enamels and will always be present.
Gallery opens its 1984 workshop "Atelier d'Art" which is also involved in design.
In 1989 participates in the Gift Mart in Florence and is mentioned by the German magazine Gold & Gift for the original design
He travels widely in Europe and in 1996 in South America where it remains forsome years.
Back in Italy fascinated by Latin culture, the colors of the Amazon and Caribbean music.
Begins work on "Abstract Metropolitan" "internal abstraction" and "Amazon".
Currently dedicated to the project "Aboriginals" 2012.
1973 vince il 1° Premio "Estemporanea giovani pittori" città di Popoli Pe
1982 Estemporanea di Pittura - Penne Pe
1982 1° Collettiva" Pennello d'oro " Popoli Pe
1983 2° Collettiva" Pennello d'oro " Popoli Pe
1983 8° Rassegna nazionale di Pittura e Grafica -Pratola Peligna Aq
1985 6° Concorso di Pittura -Castiglione a Casauria Pe
1985 Estemporanea di Pittura - Ortona Ch
1986 Personale di Pittura - Campo di Giove Aq
1989 Personale di Pittura - Pescocostanzo Aq
1989 Espone i suoi lavori al Gift Mart di Firenze e viene menzionato dalla rivista tedesca Gold&Gift
2001 2° Rassegna di arti visive "Corradino D'Ascanio" Arteinpopoli. Italia Popoli
The art began as informal artistic response in Europe after the profound moral crisis, political and ideological highlighted by World War II. By its very nature is not an artistic movement homogeneous: in it, you collect various trends, including the most varied and, at times, even opposite. It develops in the decade of the fifties and sixties, and stands in sharp disagreement with all that, somehow, may be traceable to a form. The Informal, therefore, explicitly denies any form and with it the rational knowledge that results.Within the movement, we can identify different matrices, which take their origin mainly from Dada, Expressionism and Surrealism. From this intense mixing of the main themes of the historical avant-garde emerges a conception of art ironic and provocative, constantly aiming to deny any value to any activity which requires the filter of reason. Passions, emotions, and discomforts must therefore be expressed in a more free, spontaneous or impetuous, outside of any preconceived scheme and against every rule normally accepted.The artistic event, emptied of any residual value of formal, so exhausted by the act of creation. In this new context, assume critical importance, the materials used.Materials that are no longer simply a means used by the artist to express their ideas but, instead, become the real protagonists of the art work. The foundations of? Informal emerging this gesture and matter. Art is not done then the painting but the act of execution.And if art is to perform an act, the artistic value is in the act itself, not the product of that gesture. It may be a symbolic gesture, for example, how to cut a canvas, or an act of provocation, or even a gesture of protest, as to make spots more or less shapeless.The matter, then, suddenly finds himself in the foreground. It is his choice and that of all the possible combinations of different materials that the artist expresses his creative energy. A lot, a glass, a piece of gum, wood, a cold neon light, or other materials that become protagonists and artistic acts.The artist informal, therefore, is no longer the one who creates new events, but he who can let happen, perhaps merely to support implementation with the spontaneity of the event or? Emotion. The informal, however, is not a phenomenon confined to Europe alone. A phenomenon which extends globally the same deep discomfort and the same inability to communicate. The Informal is precisely the art or inability to communicate, the better the art that attempts to communicate in new ways.Today s'individuano, in? Context of? Informal, two main currents: the? And informal gestures? Informal material. These two trends should be added two other segments: spatialism and painting signs. If a work of art corresponds with the analysis of language and the art system and is no longer the result of an intuitive method, but a scientific-analytical method through which to communicate a concept, outside of any form of referenzialismo, then the means of expression used for the purpose of this communication are absolutely free, video, movies, happenings, performances, body art, installations, narrative, when you are not even in the absence of the work itself in the traditional sense, in If the artistic product, introducing the concept of impermanence, is an event whose traces remain only in memory.As the concept of informal art, conceptual art is also to a very broad field in which may lie many of the 900 movements: Dada Duchamp, New Dada, which will give rise to Pop Art and Nouveau Realism, l ' provocative work of Robert Rauschenberg, Jackson Pollock's action paintings, representations of Yves Klein, all events that do not want to produce an art object but to propose a new way of reading is the reality of what is commonly called art, with Renaming an object released from its normal relations with the context in which it is located and analyzed anew, outside the social and historical significance.To all? Now know that in addition to a more figurative, the co-exists? Informal art / abstract and conceptual.
The idea and matter
Edited by Barbara Vincenzi