Titel
Arte Precolombiana
Technik
Acryl auf Leinwand
Masse H X B
Code
ALECARD012H
€ 88K
€ 20.9K
€ 7.9K
€ 4.9K
€ 2.9K
Oktober 2009
Art Criticism Title: Arte Precolombiana Code: AC0012H Year: 2009, Switzerland Artist: Alessandro Cardamone Technique: Acrylic on canvas Style: Neo-Cubism / Contemporary Abstract Figuration ________________________________________ Formal Analysis Arte Precolombiana stands out as one of the most layered and dense works in Cardamone’s artistic journey, where sculptural intent merges with an iconographic and symbolic exploration of significant cultural impact. The composition is structured with a frontal, compact layout, populated by totemic, stylized figures that occupy the pictorial space in repeated yet varied modules, suggesting a ritualistic order. Human and animal forms are reduced to essential, geometric volumes almost hieroglyphic interlocked in a visual structure reminiscent of Mayan or Aztec bas-reliefs, translated into a contemporary pictorial language. The chromatic palette is dominated by earthy and mineral tones: ochre, bronze, copper green, and brick red, enriched by accents of turquoise and deep black. The colors do not model but rather mark: each area serves an almost liturgical function, contributing to a sense of ancient sacredness. The line sharp and graphic plays a constructive role: it defines and separates, but at the same time connects symbolic and figurative planes. The work presents itself as a pictorial wall, a modern stele, upon which the artist has inscribed ancestral visions with a synthetic and powerful gesture. ________________________________________ Symbolism and Interpretation The choice of a pre-Columbian theme marks a new register in Cardamone’s production: no longer just feminine introspection or the European urban environment, but a dialogue with archaic civilizations and the languages of origin. The depicted figures resemble masks, idols, ancestors evoking a universe where the human and divine merge. There is no linear narrative here, but an atemporal presence: each figure is an archetype, a visual memory of a culture that spoke through signs and absolute forms. The painting evokes another kind of time: cyclical, mythical when art was not decoration but a vehicle for knowledge and spiritual power. References to the indigenous symbology of the Americas are filtered through a contemporary sensitivity, without mimicking the original aesthetics but instead absorbing and reinterpreting them. The totemic and vertical layout also suggests ideas of "ascent" or "transformation": art as a bridge between earth and sky, matter and spirit. ________________________________________ Influences The work clearly reflects the influence of 20th-century primitivism, but in a less European and more syncretic key. The primary reference is not the African-inspired Picasso, but rather artists like Diego Rivera, Rufino Tamayo, and Wifredo Lam—figures who skillfully fused avant-garde with indigenous mythology. The geometric breakdown recalls synthetic Cubism, but the style is more overtly symbolic than expressive. In this sense, the work also aligns with certain currents in contemporary visionary art, balancing ethnography and abstraction, mysticism and decoration. ________________________________________ Critical Evaluation Strengths: •Mature use of formal synthesis to evoke an archaic world. •Powerful symbolic and spiritual structure. •A strong connection between contemporary art and ancestral languages. •Effective reinvention of the totem as a pictorial image. Compared to other works by Cardamone: •One of his most conceptual and structurally complex canvases. •Shifts away from introspective femininity to explore collectivity, ritual, and universal historical memory. •Marks a moment of cultural and iconographic openness, where the artist engages with the mythical and sacred dimensions of imagery. ________________________________________ Conclusion Arte Precolombiana is a work that serves as a bridge between civilizations between the abstract language of modern art and the deep symbolism of Latin America’s ancestral cultures. Cardamone composes a layered, intense pictorial stele, where every form speaks not only to the eye but to collective memory. His painting becomes both ritual and meditation, and this canvas stands out as one of the most emblematic of his “archetypal” cycle. With Arte Precolombiana, the artist invites us to reinterpret the past not as nostalgia, but as a code to understand the present—offering a form of painting that is simultaneously civilization, spirituality, and contemporary sign. ________________________________________ Exhibition Note This work, exhibited in numerous European countries, is part of the collection hosted by the Hong Art Museum in Chongqing, China, from November 2023 to March 2024. Critical text written for artistic documentation – Basel, 2025
This painting exhibited in various countries is part of the collection that will be exhibited in the Hong Art Museum in Chongqing China 2023/2024 Theme of South American cultures in the Pre-Columbian period fascinated by their history and their mysteries and their knowledge Several works were made on old rough linens over 100 years old, considering their structure suitable for representing this theme. During the execution of the work there was a search for color and shapes until the right balance and harmony was found This work was created in Nuglar, Switzerland in 2009 On this Work it is possible to perform 3 limited and unique evolutions, Measurements defined by the Client Price to be agreed. As well as 1/1 scale digital reproductions on canvas limited to 150 pieces with description on the back by the artist's hand and with certificate of authenticity
Titel
Arte Precolombiana
Technik
Acryl auf Leinwand
Masse H X B
Code
ALECARD0025
€ 95K
€ 20.9K
€ 7.9K
€ 4.9K
€ 2.9K
November 1999
Art Criticism Title: Arte Precolombiana Code: AC0025 Year: 1999 – Switzerland Artist: Alessandro Cardamone Medium: Acrylic on canvas Style: Neo-Cubism / Contemporary Abstract Figuration ________________________________________Formal Analysis Arte Precolombiana (1999) marks a turning point in Cardamone’s artistic exploration, where his distinctive neo-cubist style intersects with a new source of inspiration: the Mesoamerican civilizations. The work unfolds through a fragmented geometric structure, with a central figure possibly a deity or mythical character asserting itself authoritatively against a background dense with symbols. Bold lines and decomposable planes, hallmarks of Cubism, blend with harmonious curves and deep, layered colors: burnt earth, carmine reds, jade greens, oxidized blues, and ochre yellows dominate the surface. The composition exerts strong visual power while also guiding the viewer along a vertical, almost liturgical rhythm. The entire pictorial surface is articulated into symbolic registers, with zones of high symbolic density and others more rarefied, allowing the gaze to pause. The artist’s plastic language is highly dynamic: asymmetry, twisting forms, and the amplified proportions of hands and faces suggest a sense of sacred, ritual energy. ________________________________________Symbolism and Interpretation This work is a spiritual homage to Pre-Columbian cultures, yet it goes beyond mere formal citation. Cardamone reinterprets the symbolic codes of these civilizations, transforming them into universal elements. The central figure perhaps a priest, a god, or an ancestral spirit is surrounded by totemic elements and abstract glyphs, evoking lost mythic narratives. The geometric patterns are not mere decoration: they become sacred language, forms that speak of cosmic cycles, collective identity, and connection to the divine. The intense, layered colors evoke the natural world (earth, sun, stone, jungle) and inner states: red as blood and vitality, green as rebirth, blue as spirituality. The painting becomes a visual portal to an alternate world, suspended between history and myth. Though immersed in an abstract context, the subject conveys strong emotional and archetypal power: the exaggerated proportions, the hieratic gaze, and the frontal posture all contribute to transforming the figure into a collective symbol rather than an individual. ________________________________________Influences The influence of synthetic Cubism is central, with clear references to Picasso, but also to the aesthetics of Mexican muralists (like Diego Rivera and José Clemente Orozco) and the modern primitivism of artists such as Wifredo Lam. However, Cardamone distinguishes himself through a deeply personal approach that avoids exoticism or ethnographic distance, instead engaging in an authentic dialogue with the mythic thought of Pre-Columbian cultures. The forms also recall the experimental work of Paul Klee, where symbol and image fuse. Unlike mere stylization, Cardamone’s painting seeks a spiritual reconstruction a reactivation of myth through visual language. ________________________________________Critical Evaluation With Arte Precolombiana (1999, ALECARD0025), Alessandro Cardamone expands his artistic vocabulary, introducing a new thematic dimension into his work: that of humanity’s archaic roots. The painting marks the beginning of a series of pictorial reflections that explore historical and anthropological dimensions through contemporary expressive tools. The piece is compelling for its compositional intensity, symbolic depth, and formal sophistication. The fusion of neo-cubist structures with Pre-Columbian references never feels forced rather, it emerges as the result of a cultured and heartfelt inquiry, where form and content are truly integrated. ________________________________________Conclusion Arte Precolombiana (1999) stands as a powerful synthesis between contemporary abstraction and archaic memory. Cardamone gives voice to a vanished civilization through a modern visual language that is emotionally vibrant and formally disciplined. The work does not simply represent it reveals: what is buried in time and in the collective unconscious. This painting anticipates many of the artist’s later explorations and can be seen today as a fundamental milestone in his stylistic evolution. ________________________________________Exhibition Note This work, exhibited across multiple European countries, is part of the collection hosted by the Hong Art Museum in Chongqing, China, from November 2023 to March 2024. Critical text drafted for artistic documentation – Basel, 2025
Theme of South American cultures from the Pre-Columbian period fascinated by their history, their mysteries and their knowledge Several works were made on old rough linens over 100 years old, considering their structure suitable for representing this theme. During the execution of the work there was a search for color and shapes until the right balance and harmony was found This work was created in Nuglar, Switzerland in 1999 On this Work it is possible to perform 3 limited and unique evolutions Measurements defined by the Client Price to be agreed. As well as 1/1 scale digital reproductions on canvas limited to 150 pieces with description on the back by the artist's hand and with certificate of authenticity
Titel
Arte Precolombiana
Technik
Acryl auf Leinwand
Masse H X B
Code
ALECARD0024
€ 85K
€ 20.9K
€ 6.9K
€ 4.9K
€ 2.9K
December 1999
Art Criticism Title: Arte Precolombiana Code: AC0024 Year: 1999 – Switzerland Artist: Alessandro Cardamone Medium: Acrylic on canvas Style: Neo-Cubism / Contemporary Abstract Figuration ________________________________________Formal Analysis Cardamone’s Arte Precolombiana asserts itself visually through the symbolic power of its composition and the plastic intensity that characterizes its figurative structure. Dominated by a central totemic figure, the painting employs a neo-cubist language that deconstructs and reconstructs the human anatomy through rhythmic and geometric logic. Jagged lines, sharp contours, and the fragmentation into overlapping color planes create a highly dynamic sense of space. The palette consists of earthy, saturated, and profound tones ochre, umber, copper red, jade green, and petrol blue that directly evoke the Pre-Columbian world. Bright color fields punctuate the canvas, providing a sense of breathing room within the composition. The overall structure is vertically oriented, echoing the monumentality of Mesoamerican stelae or ancient mural paintings. The central figure appears as a hybrid between man and symbol, subject and icon: the face is stylized into a mask-like form, with elongated eyes and simplified features reminiscent of Mayan or Aztec hieroglyphics. The large, heavily marked hands radiate expressive energy and seem to “speak” through ritual gestures. ________________________________________Symbolism and Interpretation Arte Precolombiana is not a mere depiction of the past, but rather a spiritual evocation of ancestral archetypes. The central figure, suspended in an atemporal dimension, acts as a mediator between modern humanity and the saced realm of ancient American civilizations. Its geometrized body, adorned with symbolic motifs spirals, triangles, masks becomes a universal emblem of belonging and collective memory. The background is rich with signs and fragments resembling a forgotten language: hieroglyphs, carvings, and partial idols emerge like floating archaeological visions in the pictorial space. The entire scene is imbued with a ritualistic atmosphere, evoking sacred ceremonies or votive offerings. Thus, the relationship between man and history becomes the central theme not a historical narrative, but a psychological and metaphysical elaboration of Pre-Columbian culture as a deep echo of identity. Despite its abstraction, the figure conveys a sense of spiritual power and quiet introspection. ________________________________________Influences Cardamone operates within the lineage of synthetic Cubism, inspired by Picasso and Braque, while enriching his stylistic language with primitivist and symbolic elements reminiscent of Picasso’s “African period,” Paul Klee’s abstract-decorative experiments, and Wifredo Lam’s mythic stylizations. The influence of authentic Pre-Columbian art is filtered through a contemporary sensibility. There are no direct quotations, but rather transformation and assimilation. The compositional structure alludes to bas-reliefs and murals, while the color treatment and pictorial style clearly belong to a refined and personal modern language. ________________________________________Critical Evaluation Arte Precolombiana is among the first works in which Cardamone explicitly addresses historical and cultural themes, moving beyond intimate subject matter to engage in a dialogue with collective memory and archaic symbolism. It marks a pivotal moment in his formal development from individual to civilization, from figure to myth. The composition is solid and well-balanced, demonstrating a precocious maturity, and already revealing the artist’s intention to fuse painterly language with anthropological thought. The result is a work that is not only evocative, but also didactic and initiatory, capable of introducing the viewer to an alternative vision of time and identity. ________________________________________Conclusion With Arte Precolombiana, Alessandro Cardamone creates a bridge between past and present, art and spirituality, symbol and form. Though part of the contemporary European neo-cubist movement, the work stands out for the originality of its thematic approach and the consistency of its execution. It is a deep and visionary piece, one that anticipates the artist’s growing interest in ancient cultures, collective memory, and trans-historical aesthetics, inaugurating a new and significant phase in his artistic journey. ________________________________________Exhibition Note This work, exhibited across various European countries, is part of the collection hosted by the Hong Art Museum in Chongqing, China, from November 2023 to March 2024. Critical text written for artistic documentation – Basel, 2025
Theme of South American cultures from the Pre-Columbian period fascinated by their history, their mysteries and their knowledge Several works were made on old rough linens over 100 years old, considering their structure suitable for representing this theme. During the execution of the work there was a search for color and shapes until the right balance and harmony was found This work was created in Nuglar, Switzerland in 1999 On this Work it is possible to perform 3 limited and unique evolutions Measurements defined by the Client Price to be agreed. As well as 1/1 scale digital reproductions on canvas limited to 150 pieces with description on the back by the artist's hand and with certificate of authenticity
Titel
Arte Precolombiana
Technik
Acryl auf Leinwand
Masse H X B
Code
ALECARD0035H
€ 78K
€ 20.9K
€ 6.9K
€ 4.9K
€ 2.9K
December 2012
Art Criticism Title: Pre-Columbian Art Code: AC0035H Year: 2012, Switzerland Artist: Alessandro Cardamone Technique: Acrylic on canvas Style: Neo-Cubism / Contemporary Abstract Figuration ________________________________________ Formal Analysis This 2012 work stands as one of Cardamone’s earliest and most emblematic explorations of the Pre-Columbian theme. It is marked by a composition that is both compact and ritualistic, in which the pictorial space unfolds like a fragment of sacred wall or carved stone. The artist adopts a strong geometric language, with totemic figures emerging like modern bas-reliefs, built through bold color fields and incisive lines. The composition is frontal and symmetrical, with a vertical central axis functioning as the structural backbone of the image, evoking a symbolism of centering and cosmic order. The palette is earthy and dense ochres, browns, stone greys, and coppery greens punctuated by more vibrant insertions of blue or dark red that highlight eyes, ritual symbols, or stylized anatomical parts. Color is used sparingly but with sacramental precision: each tone holds meaning, each area serves a function. The pictorial surface lacks illusionistic depth: everything is flat, layered, and inscribed. The gaze is held within the icon itself, invited to read the symbols as one would a votive panel or an archaeological tablet. ________________________________________ Symbolism and Interpretation This canvas can be read as a visual manifesto for the artist’s Pre-Columbian cycle. The central figure a hybrid between human, animal, and mask appears as a mythical emanation: perhaps shaman, deity, or ancestor. The presence of wide-open eyes, geometric symbols, and frontal postures directly recalls Mayan and Olmec iconography, though filtered through an existential and contemporary sensitivity. This is not a folkloric homage, but a deeper attempt to interrogate the sacred through painting to bring to light universal signs embedded in collective cultural memory. The silence emanating from the work, combined with its hieratic stillness, suggests a suspended, metaphysical time in which the figure is neither alive nor dead, but in communion with higher forces. The painting’s archaic yet modern character makes it a visual threshold: a doorway that both separates and connects civilizations, eras, and states of being. ________________________________________ Influences In Cardamone’s 1999 work, the influence of early 20th-century primitive Cubism is still strongly felt especially the African period of Picasso. However, the artist already moves away from that aesthetic to forge a more personal voice: starker, more ritualistic, less expressive and more constructive. The Pre-Columbian component is not imitation, but conceptual re-elaboration. One is reminded of artists like Wifredo Lam, Joaquín Torres García, or Jean-Michel Basquiat (in his most symbolic and ritualistic phases), with whom Cardamone shares an interest in lost codes and ancient visual languages. The apparent simplicity masks a refined effort in constructing symbolic space, where every figure is not a “representation” but an active, living, meaningful sign. ________________________________________ Critical Evaluation Strengths: •Powerful synthesis between contemporary art and ancestral mythology. •A composition that is both balanced and symbolically dense. •Controlled, evocative chromatic language fully aligned with the theme. •Mature use of signs as archetypal codes. Compared to later works by the artist: •This painting stands out for its more essential and archaic language less narrative, more symbolic. •It represents a foundational moment in Cardamone’s Pre-Columbian poetics, from which more complex but perhaps less “sacred” works will later evolve. •A seminal piece that lays the groundwork for an entire figurative genealogy. ________________________________________ Conclusion Pre-Columbian Art (1999) is a work of remarkable visual and conceptual power, marking a turning point in Cardamone’s journey toward uncovering the symbolic roots of imagery. Through a dry and calibrated pictorial grammar, Cardamone constructs a totemic figure that speaks to our collective unconscious, reconnecting us with forgotten myths and visions. In this canvas, the painting is no longer a window onto the world, but a sacred stone, a contemporary relic, a living archive of forms and mysteries. For its hieratic strength and formal coherence, it remains one of the most iconic and radical pieces in the artist’s entire body of work. ________________________________________ Exhibition Note This work, exhibited in numerous European countries, is part of the collection hosted by the Hong Art Museum in Chongqing, China, from November 2023 to March 2024. Critical text written for artistic documentation – Basel, 2025
Theme of South American cultures from the Pre-Columbian period fascinated by their history, their mysteries and their knowledge Several works were made on old rough linens over 100 years old, considering their structure suitable for representing this theme. During the execution of the work there was a search for color and shapes until the right balance and harmony was found This work was created in Nuglar, Switzerland in 1999 On this Work it is possible to perform 3 limited and unique evolutions Measurements defined by the Client Price to be agreed. As well as 1/1 scale digital reproductions on canvas limited to 150 pieces with description on the back by the artist's hand and with certificate of authenticity
Titel
Arte Precolombiana
Technik
Acryl auf Leinwand
Masse H X B
Code
ALECARD006A
€ 88,5K
€ 21.9K
€ 7.9K
€ 4.9K
€ 2.9K
Oktober 2000
Art Criticism Title: Pre-Columbian Art Code: ALECARD006 Year: 2000 – Switzerland Artist: Alessandro Cardamone Technique: Acrylic on canvas Style: Neo-Cubism / Contemporary Abstract Figuration ________________________________________ Formal Analysis The 2000 work marks one of Cardamone’s earliest explorations of the Pre-Columbian cycle, already revealing a strong plastic and symbolic intensity. The composition is dominated by a central totemic figure, rendered according to the canons of an energetic and fragmented Neo-Cubism. Anatomical volumes are shattered into broken geometric planes and reassembled, generating a vibrant and stratified spatiality. Sharp contours and compact color fields give the canvas a solid, almost architectural structure. The chromatic palette is characterized by ochres, deep reds, jade greens, and dark blues, with stark contrasts that recall the visual universe of Mesoamerican cultures. The verticality of the structure and the monumentality of the central figure evoke the stelae and reliefs of ancient Pre-Columbian civilizations, reinterpreted with a contemporary sensibility. ________________________________________ Symbolism and Interpretation The figure appears as a hybrid between man and deity, with mask-like traits and proportions deliberately sacrificed in favor of a hieratic effect. Archetypal signs and geometric motifs (spirals, triangles, zig-zag lines) inscribed on the body recall a lost sacred language, evoking mythical and ritual narratives. The work is not a simple quotation of Pre-Columbian art, but rather its inner and symbolic transfiguration. The central figure functions as a metaphysical bridge between past and present, between historical memory and collective consciousness. The background, rich in signs and visual fragments, reinforces the impression of standing before a pictorial altar, a place of evocation and ritual. ________________________________________ Influences Cardamone draws inspiration from Picasso’s Synthetic Cubism but introduces a ritual and mythical component that recalls Paul Klee and Wifredo Lam. The monumentality and decorative strength of the surface also suggest a connection with Mexican muralism and with Torres-García. Yet his style remains deeply personal: a pictorial language that fuses European modernity and ancestral memory into an original and coherent balance. ________________________________________ Critical Evaluation With Pre-Columbian Art (2000), Cardamone opens a new horizon in his artistic research, moving from the individual subject to an investigation of the archaic and universal roots of humanity. The work impresses with its compositional strength, symbolic density, and spiritual intensity, foreshadowing developments that would become central in the artist’s later production. Exhibition Note This artwork, exhibited in numerous European countries, is part of the collection hosted by the Hong Art Museum in Chongqing, China, from November 2023 to March 2024. Critical text written for artistic documentation purposes – 2025
This painting exhibited in several European countries Theme on South American cultures in the Pre-Columbian period. fascinated by their history and their mysteries and their knowledge. Several works were made on old rough linens over 100 years old, considering their structure suitable to represent this theme. During the execution of the work there was a search for color and shapes until the right balance and harmony was found This work was created in Nuglar, Switzerland in 2000 on canvases over 100 years old On this Work it is possible to perform 3 limited and unique evolutions, Measurements defined by the Client. Price to be agreed. As well as 1/1 scale digital reproductions on canvas limited to 150 pieces with description on the back by the artist's hand and with certificate of authenticity
Titel
Arte Precolombiana
Technik
Acryl auf Leinwand
Masse H X B
Code
ALECARD005A
€ 88,5K
€ 21.9K
€ 7.9K
€ 4.9K
€ 2.9K
October 2000
Art Criticism Title: Pre-Columbian Art Code: AC005A Year: 2000 – Switzerland Artist: Alessandro Cardamone Technique: Acrylic on canvas Style: Neo-Cubism / Contemporary Abstract Figuration ________________________________________ Formal Analysis The 2000 work marks one of the early stages of Cardamone’s exploration of the pre-Columbian theme, already revealing a mature and recognizable visual language. The composition is dominated by a frontal, totemic figure, whose hieratic monumentality commands the entire surface. The anatomical volumes, more suggested than explicitly rendered, are broken down into sharp geometric planes and recomposed in a dynamic balance of lines and forms. The canvas is traversed by a strong verticality, which accentuates the sacred structure of the scene. The chromatic palette is intense and earthy: ochres, browns, and warm reds alternate with deep blues and greens, generating a visual vibration that evokes an archaic universe. The use of solid color fields and sharply defined contours enhances the architectural perception of the figure, transforming it into a kind of timeless “icon.” ________________________________________ Symbolism and Interpretation The central figure emerges as a liminal entity, suspended between human and divine. Its mask-like features and hieratic frontal pose evoke ancestral presences, with explicit references to Mesoamerican rituality. On the body and within the background appear geometric signs—spirals, triangles, zigzags—that function as fragments of an ancient symbolic language, evoking myth, memory, and lost sacrality. The work does not aim to represent the pre-Columbian world in a descriptive manner, but rather to transfigure it in an inner and universal key. The figure acts as a mediator, a bridge between past and present, between historical memory and collective imagination. The canvas thus takes shape as a pictorial altar, a space of evocation and spiritual reflection. ________________________________________ Influences The work dialogues with Picasso’s synthetic Cubism and with modernist primitivism, while also resonating with Paul Klee’s symbolic abstraction and Wifredo Lam’s mythical strength. Its monumentality recalls Torres-García and the early 20th-century Mexican mural tradition. Despite these references, Cardamone forges an autonomous and distinctive language, capable of fusing archaic roots with contemporary sensibility. ________________________________________ Critical Evaluation With Pre-Columbian Art (2000), Cardamone initiates a path that would prove fundamental to his later production. The work stands out for its compositional strength, symbolic density, and spiritual intensity, representing a turning point in which painting becomes not only an expressive medium but also a tool of anthropological inquiry and universal reflection on the roots of humanity. ________________________________________ Exhibition Note This work, exhibited in several European countries, is part of the collection hosted by the Hong Art Museum in Chongqing, China, from November 2023 to March 2024. ________________________________________ Critical text drafted for artistic documentation purposes – Basel, 2025
This painting exhibited in several European countries Theme on South American cultures in the Pre-Columbian period. fascinated by their history and their mysteries and their knowledge. Several works were made on old rough linens over 100 years old, considering their structure suitable to represent this theme. During the execution of the work there was a search for color and shapes until the right balance and harmony was found This work was created in Nuglar, Switzerland in 2000 on canvases over 100 years old On this Work it is possible to perform 3 limited and unique evolutions, Measurements defined by the Client. Price to be agreed. As well as 1/1 scale digital reproductions on canvas limited to 150 pieces with description on the back by the artist's hand and with certificate of authenticity
Titel
Africa
Technik
Acryl auf Leinwand
Masse H X B
Code
ALECARD0010
€ 48K
€19.9K
€ 6.9K
€ 4.9K
€ 2.9K
October 1999
Art Criticism Title: Arte Precolombiana Code: ALECARD0010 Year: 1999 – Switzerland Artist: Alessandro Cardamone Medium: Acrylic on canvas Style: Neo-Cubism / Contemporary Abstract Figuration ________________________________________Formal Analysis The work Arte Precolombiana (code ALECARD0010) presents itself as a monumental composition, visually dense and structurally complex. It marks one of the artist’s earliest mature explorations of the mythical and ancestral themes of Pre-Columbian America. The entire canvas is constructed through a visual syntax rooted in neo-cubist language, with geometric deconstruction of figurative elements that evokes both the analytical fragmentation of historical Cubism and the symbolic flatness of Pre-Columbian visual codes. At the center of the scene stands a totemic figure, possibly a deity or shaman, immersed in a sacred, ritualized landscape. Sharp and fractured lines alternate with harmonious curves, interwoven with rich fields of color ranging from earthy tones (ochre, rust, brown) to ritual hues such as turquoise, blood red, and indigo. While the composition appears formally static, it is charged with an internal tension: the juxtaposition of contrasting chromatic planes and the superimposition of figures and symbols create a visual dynamism that compels the eye to move constantly across the surface. The work is not read from left to right but from top to depth, as in a sacred fresco or ceremonial stele. ________________________________________ Symbolism and Interpretation Arte Precolombiana is not merely a depiction of ancient cultural elements; it is a true visual meditation on the concept of origin, on the relationship between humanity, land, and spirituality. The central figure partly anthropomorphic, partly masked embodies the union between visible and invisible realms. Simplified forms and the absence of perspective invite symbolic interpretation: every element on the canvas functions as a sign rather than a representational object. Archetypal motifs appear: ceremonial masks, serpents, solar rays, spirals, totem animals. These are not decorative but psychic evocations, conjuring primitive, collective, timeless forces. The compositional structure resembles a secular altar, a field of tension between the spiritual and material worlds. The sacred permeates the entire work, yet is reinterpreted through a modern lens: the artist does not imitate Pre-Columbian culture but internalizes and reimagines it through his own abstract-contemporary language. The result is a painting that acts upon the viewer like a ritual not something to understand intellectually, but to experience emotionally. ________________________________________Influences The canvas clearly bears the influence of Picasso’s synthetic Cubism, as well as Mexican muralism, particularly artists like Rivera and Tamayo, where myth and plastic form coexist. On a formal level, echoes of European Symbolist painting (Klee, Gauguin) can be felt, along with elements reminiscent of indigenous ritual graphics. Yet Cardamone does not simply quote these traditions: he absorbs and transmutes them into a distinctive synthesis. The figure is never fully dissolved into abstraction, nor rendered in conventional realism. His is a “psychic figuration”, merging primitivism with contemporary sensibility. ________________________________________Critical Evaluation With Arte Precolombiana (ALECARD0010), Cardamone demonstrates his ability to extend his plastic vocabulary into a more archetypal and universal dimension, initiating a new pictorial cycle that reflects a deep artistic maturation. The painting expresses a profound spiritual tension, embodied through a cultured and powerfully evocative visual synthesis. This is not a work that merely represents it invokes. It becomes a ritual act, a form of visual knowledge. In this sense, Cardamone successfully bridges modernity and antiquity without falling into rhetoric, bringing to the canvas the silent voice of forgotten civilizations, filtered through a contemporary awareness. ________________________________________Conclusion Arte Precolombiana (1999, ALECARD0010) is one of the most emblematic works from Alessandro Cardamone’s stylistic transition period. The convergence of his passion for plastic abstraction with a renewed attention to archaic spirituality gives rise to a work of rare intensity and coherence. It is a clear example of how contemporary art can still engage with myth, the sacred, and the deep currents of human experience. ________________________________________Exhibition Note This work, exhibited in numerous European countries, was part of the collection hosted by the Hong Art Museum in Chongqing, China, from November 2023 to March 2024. Critical text written for artistic documentation purposes – Basel, 2025
Title: Pre-Columbian Art Code: AC005A Year: 2000 – Switzerland Artist: Alessandro Cardamone Technique: Acrylic on canvas Style: Neo-Cubism / Contemporary Abstract Figuration ________________________________________ Formal Analysis The 2000 work marks one of the early stages of Cardamone’s exploration of the pre-Columbian theme, already revealing a mature and recognizable visual language. The composition is dominated by a frontal, totemic figure, whose hieratic monumentality commands the entire surface. The anatomical volumes, more suggested than explicitly rendered, are broken down into sharp geometric planes and recomposed in a dynamic balance of lines and forms. The canvas is traversed by a strong verticality, which accentuates the sacred structure of the scene. The chromatic palette is intense and earthy: ochres, browns, and warm reds alternate with deep blues and greens, generating a visual vibration that evokes an archaic universe. The use of solid color fields and sharply defined contours enhances the architectural perception of the figure, transforming it into a kind of timeless “icon.” ________________________________________ Symbolism and Interpretation The central figure emerges as a liminal entity, suspended between human and divine. Its mask-like features and hieratic frontal pose evoke ancestral presences, with explicit references to Mesoamerican rituality. On the body and within the background appear geometric signs—spirals, triangles, zigzags—that function as fragments of an ancient symbolic language, evoking myth, memory, and lost sacrality. The work does not aim to represent the pre-Columbian world in a descriptive manner, but rather to transfigure it in an inner and universal key. The figure acts as a mediator, a bridge between past and present, between historical memory and collective imagination. The canvas thus takes shape as a pictorial altar, a space of evocation and spiritual reflection. ________________________________________ Influences The work dialogues with Picasso’s synthetic Cubism and with modernist primitivism, while also resonating with Paul Klee’s symbolic abstraction and Wifredo Lam’s mythical strength. Its monumentality recalls Torres-García and the early 20th-century Mexican mural tradition. Despite these references, Cardamone forges an autonomous and distinctive language, capable of fusing archaic roots with contemporary sensibility. ________________________________________ Critical Evaluation With Pre-Columbian Art (2000), Cardamone initiates a path that would prove fundamental to his later production. The work stands out for its compositional strength, symbolic density, and spiritual intensity, representing a turning point in which painting becomes not only an expressive medium but also a tool of anthropological inquiry and universal reflection on the roots of humanity. ________________________________________ Exhibition Note This work, exhibited in several European countries, is part of the collection hosted by the Hong Art Museum in Chongqing, China, from November 2023 to March 2024. ________________________________________ Critical text drafted for artistic documentation purposes – Basel, 2025
Titel
Arte Precolombiana
Technik
Acryl auf Leinwand
Masse H X B
Code
ALECARD010E
€ 48K
€19.9K
€ 7.9K
€ 4.9K
€ 2.9K
October 2004
Art Criticism Title: Arte Precolombiana Code: AC0010E Year: 2004 – Switzerland Artist: Alessandro Cardamone Medium: Acrylic on canvas Style: Neo-Cubism / Contemporary Abstract Figuration ________________________________________Formal Analysis This 2004 work marks a turning point in Cardamone’s artistic journey, initiating a new thematic cycle focused on Pre-Columbian cultures, approached through the lens of contemporary neo-cubism. The composition is dominated by a frontal totemic figure, asserting a monumental and hieratic presence. The forms are deconstructed and reassembled through geometric logic, built up in fragmented and overlapping planes that generate a sense of layered and intense spatiality. Sharp outlines, compact color fields, and vertical symmetries evoke an archaic compositional structure, revitalized by the vibrant brushwork and dynamic visual rhythm. The color palette is bold and grounded in earth and myth: ochre, rust, copper, turquoise, jade green, and deep black. These colors, applied with saturation and vibrancy, evoke the aesthetic memory of ancient Mesoamerican civilizations, fusing abstraction with visual recollection. The entire surface pulses with a tension between figure and background, between order and fragmentation, drawing the viewer into a vibrational visual rhythm. ________________________________________Symbolism and Interpretation The central figure half human, half symbol stands as a mediator between past and present, between the visible world and the spiritual one. Its mask-like face, with stylized eyes, and the body adorned with archetypal markings spirals, triangles, broken lines, and zigzag motifs suggest lost hieroglyphs or ritual carvings. This is not a literal depiction of Pre-Columbian culture, but rather a symbolic and interior transfiguration: Cardamone does not reference; he absorbs and reinterprets. The totemic figure becomes an icon of collective identity, a metaphysical bridge between humanity and the sacred, history and myth. Behind the figure, visual fragments faces, masks, idols emerge like apparitions from an undefined temporal background. The canvas acquires a ritual quality, as though it were a painted altar where an act of memory and transformation is performed. ________________________________________Influences Cardamone positions himself within a spiritual and symbolic Cubist tradition, far from mere formal experimentation. The primary influences are evident in Picasso’s Primitivism, the visionary stylizations of Paul Klee, the mythological constructions of Wifredo Lam, and the ancestral murals rooted in Pre-Columbian aesthetics. Echoes of 20th-century decorative painting from Fernand Léger to Joaquín Torres-García can also be felt, but reimagined through a contemporary and transcultural lens. The work dialogues with the past, but speaks a current, intimate, and anthropological language. ________________________________________Critical Evaluation Arte Precolombiana is a work of synthesis and vision, where Cardamone unites formal precision with conceptual depth. It is one of the first pieces in which the artist moves beyond individual subjects to address archetypal dimensions, opening his pictorial language to universal themes: origin, myth, and the sacred. The balance between compositional structure and expressive force is finely calibrated. The piece impresses with its visual coherence and its evocative power, transporting the viewer into a suspended space-time, rich in hidden meanings and collective memory. ________________________________________Conclusion With Arte Precolombiana (2004), Alessandro Cardamone develops a new visual poetics that fuses abstract figuration and archaic spirituality. The work stands not only as a stylistic exercise but also as an anthropological reflection in pictorial form, capable of transcending boundaries of time and geography. It marks a foundational moment in his path, from which would emerge a broader body of work dedicated to ancestral cultures, in an artistic journey that explores the symbolic roots of humanity. ________________________________________Exhibition Note This work, exhibited in multiple European countries, is part of the collection hosted by the Hong Art Museum in Chongqing, China, from November 2023 to March 2024. Critical text written for documentation purposes – Basel, 2025
This painting exhibited in several European countries Theme on Africa cultures . fascinated by their history and their mysteries and their knowledge. Several works were made on old rough linens over 100 years old, considering their structure suitable to represent this theme. During the execution of the work there was a search for color and shapes until the right balance and harmony was found This work was created in Nuglar, Switzerland in 2000 on canvases over 100 years old On this Work it is possible to perform 3 limited and unique evolutions, Measurements defined by the Client. Price to be agreed. As well as 1/1 scale digital reproductions on canvas limited to 150 pieces with description on the back by the artist's hand and with certificate of authenticity
Titel
Tribal Woman
Technik
Acryl auf Leinwand
Masse H X B
Code
AC006D
€ 58K
€19.9K
€ 7.9K
€ 4.9K
€ 2.9K
October 2006
Art Criticsm Title: Tribal Woman Code: AC006D Year: 2006 – Switzerland Artist: Alessandro Cardamone Technique: Acrylic on canvas Style: Neo-Cubism / Contemporary Abstract Figuration ________________________________________ Formal Analysis The 2006 work represents a further development in Cardamone’s exploration of the Pre-Columbian theme, where both plastic and symbolic strength are intensified. At the center stands an imposing totemic figure, frontally positioned, whose monumentality dominates the entire surface. The composition is built through fragmented and overlapping geometric planes, which deconstruct space and recombine it into a tight and vibrant visual rhythm. Sharp contours and compact color fields establish a rigorous, almost architectural structure, while the verticality emphasizes the hieratic effect of the figure. The chromatic range is rooted in the tones of earth and myth: ochre, rusty reds, turquoise, and jade green, opposed by deep black that punctuates the volumes. This intense and saturated palette reinforces the connection with Mesoamerican civilizations and lends the canvas a ritual strength. The entire surface is traversed by an inner dynamism that alternates order and fragmentation, generating a suspended visual field dense with tension and meaning. ________________________________________ Symbolism and Interpretation The central figure appears as a liminal being, halfway between human and divine, with mask-like traits and archetypal signs engraved on its body. Spirals, triangles, and zig-zag motifs evoke forgotten hieroglyphs or ritual incisions, suggesting a symbolic stratification that goes beyond mere historical representation. The work does not aim to be a descriptive reconstruction of the Pre-Columbian world, but rather its inner transfiguration. The figure emerges as a mediator between the visible and the invisible, between mythical past and contemporary present. Behind and around the subject appear faces and iconic fragments, presences surfacing from an undefined time, reinforcing the idea of a pictorial altar where collective memory is renewed. This canvas should be read as an act of evocation: the artist restores to myth not only form, but also spiritual energy. ________________________________________ Influences Cardamone’s neo-Cubist language dialogues with Picasso’s primitivism, but also with the symbolic abstraction of Paul Klee and the mythological constructions of Wifredo Lam. The monumentality and decorative power also recall Torres-García and the ancestral murals of Latin American tradition. Nevertheless, the stylistic hallmark is personal: Cardamone does not merely cite these influences, but reworks them into a transcultural synthesis, where past and present coexist in a visual language that is both contemporary and coherent. ________________________________________ Critical Evaluation With Pre-Columbian Art (2006), Cardamone achieves full expressive maturity within his thematic cycle dedicated to ancestral cultures. The balance between formal rigor and spiritual tension is well calibrated, and the work stands out for its symbolic density and its ability to merge historical memory with contemporary reflection. The painting takes shape as a ritual moment, a pictorial threshold that introduces the viewer into a suspended space-time, where myth, sacredness, and collective identity intertwine. ________________________________________ Conclusion This work marks a fundamental milestone in Cardamone’s artistic journey: not only in the consolidation of his neo-Cubist poetics, but also in the opening towards a universal language, where painting becomes a tool of visual anthropology. Pre-Columbian Art (2006) is a canvas that transcends geographical and historical boundaries, affirming itself as both an aesthetic and spiritual reflection on the symbolic roots of humanity. Critical text written for artistic documentation – Basel, 2025
This painting exhibited in several European countries Theme on Etno cultures . fascinated by their history and their mysteries and their knowledge. Several works were made on old rough linens over 100 years old, considering their structure suitable to represent this theme. During the execution of the work there was a search for color and shapes until the right balance and harmony was found This work was created in Nuglar, Switzerland in 2006 on canvases over 100 years old On this Work it is possible to perform 3 limited and unique evolutions, Measurements defined by the Client. Price to be agreed. As well as 1/1 scale digital reproductions on canvas limited to 30 pieces with description on the back by the artist's hand and with certificate of authenticity
Titel
Tribal Oceanea
Technik
Acryl auf Leinwand
Masse H X B
Code
AC0020
€ 65K
€19.9K
€ 7.9K
€ 4.9K
€ 2.9K
November 1999
Art Criticsm Title: Oceanea Tribale Code: AC0020 Year: 1999 Artist: Cardamone Alessandro Technique: Acrylic on canvas Style: Neo-Cubism / Contemporary Figurative Abstraction ________________________________________ Formal Analysis Oceanea Tribale stands as one of Cardamone’s earliest works where his neo-cubist research intersects with archaic and primordial suggestions. The composition is centered on human and totemic figures, fragmented and recomposed through broken yet rhythmic geometric planes, evoking the incisiveness of pre-Columbian bas-reliefs and Oceanic tribal masks. The lines, though sharp, soften into curves that mitigate the geometric rigidity, while the palette unfolds in earthy reds, golden ochres, deep blues, and jade greens—colors that recall sacred rituality and the raw force of untouched nature. The result is a vibrant composition, intertwining historical memory and modern pictorial language, fusing archaic monumentality with chromatic lyricism. ________________________________________ Symbolism and Interpretation The painting emerges as a meditation on origins, on humankind’s ancestral relationship with the sacred and with nature. The figures, reminiscent of idols or masks, seem to guard ancient secrets: their fixed and magnified gaze becomes a bridge between the earthly and the spiritual realms. The hands, likewise emphasized and stylized, suggest ritual gesture, tribal dance, and connection with cosmic energy. Decorative elements in the background—graphic signs, suspended geometric motifs—take on the value of totemic symbols or lost codes, an allusion to a universal language that transcends epochs and cultures. In this sense, Oceanea Tribale is not merely an homage to tribal art, but also a reflection on the universality of human expression and its spiritual power. ________________________________________ Influences The cubist matrix, traceable to Picasso and Braque, is evident in the fragmentation of volumes and the simultaneity of perspectives. Yet Cardamone enriches this structure with references to primitive and tribal art, particularly: •Oceanic and tribal masks and totems; •Chromatic rituality reminiscent of Fauvism and certain expressionist experiments; •A graphic sensitivity anticipating elements of global contemporary art, capable of dialoguing with extra-European cultures without lapsing into mere citation. ________________________________________ Critical Evaluation Oceanea Tribale stands out for its archaic force and its ability to merge languages separated by centuries into a personal and contemporary synthesis. Color use is not merely aesthetic, but carries ritual and symbolic weight, evoking a primordial world of myths and legends. Cardamone succeeds in transforming cubist rigor into a poetic and accessible language, where the pre-Columbian past becomes a key for reflecting on the present. ________________________________________ Conclusion This work marks an important moment in the artist’s research, where Cubism opens itself to intercultural and spiritual contaminations. Oceanea Tribale is a dialogue between eras and civilizations, an ideal bridge between modern European art and pre-Columbian and Oceanic roots. Alessandro Cardamone thus reaffirms his ability to reinterpret past forms with contemporary sensitivity, creating a painting that is at once memory and vision, ritual and poetry. Critical text written for artistic documentation purposes – Basel, 2025
This painting exhibited in several European countries Theme on Etno cultures . fascinated by their history and their mysteries and their knowledge. Several works were made on old rough linens over 100 years old, considering their structure suitable to represent this theme. During the execution of the work there was a search for color and shapes until the right balance and harmony was found This work was created in Nuglar, Switzerland in 1999 On this Work it is possible to perform 3 limited and unique evolutions, Measurements defined by the Client. Price to be agreed. As well as 1/1 scale digital reproductions on canvas limited to 30 pieces with description on the back by the artist's hand and with certificate of authenticity