Hyperbolic shades 20 (2016)
Acrylic painting by Dario Moschetta


  • Acrylic painting, Canvas
  • One of a kind artwork
  • Size: 15.75 × 26.77 × 1.18 in (unframed) / 15.75 × 26.77 in (actual image size)
  • This artwork is sold unframed
  • Signed on the front

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Artist's description:

Acrylic paint and pastels on canvas

From HDL Magazine interview:

How old are you? What do you feel when you make art?
I’m 40 years old, so I’m pretty young.
When I’m painting and working to some mixed media I don’t have complex thoughts, I just think about giving the right color, the right shadow and the right light to the artwork. I often stop and take a few steps back to look at what I’ve done, and I look at it very differently compared with the way I observe it as I’m working on it. I think about what I can do to improve it, if I’m going in the right direction, if the artwork I’m creating is better or worse that the last one I made. I don’t think about who’s going to look at it when it’s done, I’m the one who has to be satisfied, I’m the one who must like the final result, otherwise I’ll put it away where I won’t see it for a long time or I’ll throw it away.

Do you surprise yourself at your art – at the process or the results?
Sure, I can surprise myself about what I’m creating when I’m painting. Sometimes a few brush or spatula strokes given casually in the chaotic central stage of the work have something magic, a evolution, a combination, a color or a mix of colors that are simply nice to see by themselves as they are in the landscape of the paiting. Even the paint dripping on the canvas can fascinate me: too much water, too much diluent or too much color squeezed out of the tube starts sliding on the surface and I watch it intrigued a sit changes direction without no logic, it stops whenever it wants, and in the end it gives a profound meaning to the artwork. Obviously these “randomnesses” stay and I don’t even think about adjusting them.

What is your Inspiration – at life, and in your art?
In the world of art I’m inspired by the beauty of people, by the effort to try and understand one person’s mood by looking at her face or at the movements of her body. I like bodies in motion, naked bodies, expressive faces, mood changes. I think in life a spontaneous behavior can protects you from bad surprises, so I think that what inspires me is my emotional side, if I want to do something I do it without thinking about it too much, I don’t like to imitate other people’s behaviour. Maybe sometimes I follow someone’s advice, but that must be a sincere advice coming from someone who’s very close to me.

What are the main stages in your career? What attracted you to this world of art at the beginning?
There have been many important moment in my life. To make a list would be a problem. If I should chose a crucial one, then I’d say when I lost my job as a tecnical employee. I’ve always drawn and painted since I can remember, but I’ve always considered the sudden lost of that job as a new beginning. Since then I started to engage seriously in what I do now: artworks.
What lures me to this kind of work is the absolute freedom to do exactly what I want whenever I want. It’s that special kind of deep meditation I experience when I work, everything vanishes and nothing bothers me anymore, everything is peace when I create something with my two own hands.

Do you create a story in your mind when you work on a piece? a story about your characters if it’s a portrait, or a story about the city if it’s a cityscapes?
When I work on a new artwork I want to describe reality at first. As far as I’m concerned, making a portrait is not only to preserve the face of a person, but also to give others (people looking at it) some kind of emotion, instill a feeling that can be different from person to person. I’d like to create a memento for a brief instant, to make people see the human condition, sad or either happy. We all know what a smiling face look like, but to see one more painted is always useful.

Do you discover new things about yourself during your work?
To be honest I don’t find out nothing more of what I already know about myself when I work. I’d like to be able to do that. Maybe one day it will happen and maybe it will be the day I’ll begin a new phase, maybe I won’t paint anymore and I’ll dedicate myself to sculpture, or maybe I’ll direct movies. I’m curious about what will come next.

Can you describe me your work process? How is your day looks like? Is it all about art?
As for the cityscapes the process is pretty complicated, I start from a printed photographic base and then I melt the printing pigments with a vinyl glue. It’s a process that resembles the printing of photographic negatives. Then it’s time for the acrylic color, creating some tension with lines, trying to make the city’s personality stand out, without showing its citizens. It’s like looking at a photo of the African savannah: you know it’s the savannah even if there are no lions or elephants. Then I glue the whole thing on a solid surface like canvas or wood, or some recyclable materials. I scratch the surface with variuos tools, chisels, files, sandpaper. I want the artwork to look like those worn out movies posters that you see along the streets. The more they look worn out the better it is.

Are your images come from dreams or other unconscious areas in you?… Please give me examples from your work
I will be honest: before I start to paint a portrait or a nude or before I start a cityscapes, the image I want to obtain comes from a heap of images or footage in my head. It’s like I’m directing a movie and I can choose from all those frames at my disposal. Of course I have movies I’m particularly fond of and sometimes I draw frames from them. Some movies have wonderful framings that are as good as paintings. I like to think about Kubrick or Antonioni, real artisans that chose the best angles and the best means to shoot them. As for the cityscapes, I often think about those from on high framings of Christopher Nolan’s movies, a slow and fluid motion of cities that look desert, no people around. People build cities but cities are the first thing you see when you’re flying on a plane above them.

What is the purpose of art at all ,as you see it , and your art in particular?
I don’t know what art is supposed to mean, but the will to be amazed is alive and kicking in us all. So I think that amaze people is a pretty good satisfaction. The illusionist that can make people stare with their mouth wide open with a hocus-pocus is the happiest of men. The artis is an illusionist, and when the magic works people go to the museum or to an exibition and stare with eyes and mouth wide open, and sometimes even cry. I saw that happening with my own eyes.

Do you have things or techniques you want to develop or new field you want to research in your art for the next five years?
There are so many things I want to do, or I’d like to do. I’ll paint big size paintings for sure, like 2x2 meters or thereabouts. The more the field of vision is filled with color and artistic reality the more you can be in tune with yourself, with nature and with other human beings. Monet succeeded in doing it in a superlative way with his Waterlilies at the Orangerie. To direct a movie would be great.

What are the feedbacks you get? What are the emotions that your work stimulate in viewers?
I like to know that people like my artworks. They often tell me that my cityscapes convey quite well the chaos, even though there is no chaos at all. Maybe they unsettle people because we all know what these piles of concrete and glass hide.

What are you working on now?
I’m working on some big size portraits and nudes with intense colors like the last selfportrait I did, wich is 142x177 cm. I like to give large brush strokes on the canvas, to move a lot in front of an idea I sketched with the pen, and to mix a great deal of colors. I’ve seen a footage of a Japanese artist who painted some beautiful Koi fishes on a canvas that was so big that he could paint with a broom. I’d like to try that.

Materials used:

acrylic paint, pastels, canvas

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