Bob Money (Quattrini Roberto Stuttgart April 1, 1965) is an international sculptor and painter born in a family of Italian immigrants in Germany where he remained for the first years of his life in the city of Stuttgart. Back in Italy, in 1981 he studied drawing and casting in bronze in the Art Institute Edgardo Mannucci in Ancona. At the same time he devoted himself to musical studies and in 1991 he graduated in piano and French horn at the Gioacchino Rossini Conservatory of Pesaro. In the last years he experiments different painting and sculpture techniques, specializing in bas-relief on canvas defined by Donald Anthony Preziosi sculpture on canvas. ("Cosmogony" Collection). Since 2005 he has collaborated with several national and international artists with particular attention to the sculptures in polycarbonates and metal meshes including "The Aground Siren", published in the book "Mario Dondero" and "Quadro Inverso" sculpture created by the famous photo taken at Pier Paolo Pasolini from Dino Pedriali with whom he worked in 2014 at the "Pasolini con Scratch" project by Casarsa.della Delizia.He collaborates with several international galleries as an independent artist and is published in the most important art catalogs. For years he has been working on a hybrid formula between painting and sculpture, a sort of atypical bas-relief that now characterizes and orients it. Bob Money acts for thematic cycles, united by the link with specific "nuclear" personalities, ascribable to the archetypes of radical thought: Pier Paolo Pasolini, Gino De Dominicis, Dino Pedriali, Mario Dondero, Letizia Battaglia ... hot icons that the artist studies and reworks with a magmatic approach, weaving solid semantic textures around their moral codes. Similar to a volcano that forges icons, distills esoteric inserts and false tracks, building new metaphysics around his idea of portrait. The result is a complex organism that metabolizes clues pop and kitsch drifts, twentieth century tensions and oriental symbologies. The works become layers of themes and styles, new anabolic avatars that dilate the reference imaginaries. Different and yet complementary, the works reason within the western canon of the figure / icon, where matter simmers and transforms but the body maintains the Leonardo's center of history.
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