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MARINETTI Julien
Born in 1967 Lives and works in Paris and in Provence.
Seated on his hind legs, Doggy John is standing up, contemplating his
century and peers with sharp-eyed. In our era of mix and remix, of remakes
and ready-mades, of fast-fooding and zapping, the XXIst century is, without
any doubt, the time of swiftness and supra-consumption, Doggy John is the
new medium.
Thanks to the bronze technical, well-contained in the way of the classical
Wises, Doggy John is ilnaterable. The artist Giuliano Marinetti declines the
noble metal under a new form. He invents, in
combining lacquer technical and paintings, get out from industrials, an
eternal trap for collages, paintings and pictures.
Doggy John is a dual artwork, work in the work, where the finished bronze
sculpture is placing side by side with the protean painting : Giuliano
Marinetti is talking about a DUAL CONSTITUTION.
As a copy of his master, Doggy John recreates his time and his history to
adapt it, sometimes as a tribute, sometimes critical, sometimes a wink.
Thus, the cycle titled "Herald Tribune" spotlights with irony the
concertinaing events, with its « hiatus » and discrepancy. The cycle « Japan
» confronts the social Japanese starkness with their riotous outlet.
With the cycle "Pop Art", Giuliano Marinetti interprets the art history with
humor and appreciation. He decided to do it through the unrehearsed hijack
of the greatest master's artworks like Andy Warhol or Jean-Michel Basquiat.
This while the cycle « Jazz » shows melancholy and joy feelings through an
affecting tribute to the great names of jazz history.
Doggy John is the reflection of his century. Century of Internet and « new
media », century where we believe and we want to see everything, to know
everything, faster and faster. In a wink of an eye, Doggy John absorbs our
society snapshots as a sponge. Volontarily created in bronze, a material
which survive to the time scathe, Doggy John is today a one-shot chameleon
witness, and will give tomorrow an outstanding evidence about our time.
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