Tempus Fugit

Price range: $75.00 through $7,500.00

Tempus Fugit 54 x 32″ mixed media Gallery wrapped, presented in a black floater frame

Tempus Fugit is part of a series of Imaginary Realism collaborations between Nick Cerrato, who has Cerebral Palsy, and Robert Maniscalco, that combine Robert’s visual authority in realism with Nick Cerrato’s abstract expressionist action painting, to create a hybrid form of speculative worlds addressing trauma, interdependence, mobility impairment, survival, power, isolation, environmental precarity, inequality, spiritual longing, and the human need to belong.

Tempus Fugit (Classical Latin pronunciation: [ˈt̪ɛmpʊs̠ ˈfʊɡit̪]) is a Latin phrase, usually translated into English as “time flies.” Tempus Fugit presents elements of fire and ice as depicted in violent flux. The interaction of extreme temperatures results in the instantaneous destruction of both fire and ice. But in that moment when they are consumed, strange images emerge and disappear tempus fugit. Hot and cold, light and dark, good and evil entities and those that exist in between, are released into the world, then seen no more, tempus fugit. But they malinger in our collective memory and explain the most extreme, often disparate conditions humanity can endure, tempus fugit.

What is our process? With only the scantest idea of a plan, a simple sketch, Tempus Fugit launched with the initial throwing down of the paint, assisted by Robert, but executed solely by Nick. The goal here is to harness Nick’s magnificent gift, which is his freedom and spontaneity. These brilliant sweeps of paint and Nick’s expressive mark making is the structure undergirding the entire painting. Nick’s action and reactive painting approach gives him a unique ability to move his ego out of his own way, partly because he has Cerebral Palsy and can only make spontaneous, impulsive marks; unselfconscious marks most abstract expressionists spend their lives trying to make.

Continued . . .

The other thing you need to know about Nick is he has an artist's eye and an artist's soul. There is no room for the slightest contrivance or fakery. His job is to strike, then get out of the way. All artists are two people: the one who paints and the other who tells him when to stop. Nick is an abstract expressionist, in the purest sense of the word. Robert's role in this stage is to furnish paint and direct the general contours of the map they have in mind, to occasionally suggest when it is time to stop and otherwise to simply allow Nick to do his magic. There is a general consensus between the two as to when enough is enough at this stage.

After this stage they let the thing dry. Even with acrylics, it takes a week to fully cure. The surface texture is now very sculptural; it's almost a bas relief, in some places an inch and a half thick. Robert's goal in the next stage is to work around and enhance Nicks initial marks, adding some t without altering or negating them in any way. Robert describes it as "putting on a glove, without moving the glove in the process," or like putting together a puzzle. Robert uses trompe l'oeil trickery to enhance the topography of Nick's marks. Now channeling NETI, Robert sees multitudes of imaginary forms and characters begging to be released from the "stone," now fixed in the initial layer.

           

If you look closely at Tempus Fugit, you will see many creatures of the fleeting world where water and of fire meet and are destroyed. They peak out between Nick's marks. The viewer gets a micro and a macro experience of the work.

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