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Italy
Sculpture, Wood on Wood
Size: 9.4 W x 11.8 H x 11.8 D in
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Aediculae is a project of eleven works. They represent the "drawings" with chalk made by children on the sidewalks, they are imperfect, they have the flavor of childhood, they are simple and white. They have the opposite function to the Christian aediculae we are used to meet on street corners. It is not the Madonnas to which travelers ask for protection, but it is Nature (the sheep inside represent it) that implores us to protect it.
Sculpture:Wood on Wood
Original:One-of-a-kind Artwork
Size:9.4 W x 11.8 H x 11.8 D in
Frame:Not Framed
Ready to Hang:Yes
Packaging:Ships in a Box
Delivery Time:Typically 5-7 business days for domestic shipments, 10-14 business days for international shipments.
Handling:Ships in a box. Artists are responsible for packaging and adhering to Saatchi Art’s packaging guidelines.
Ships From:Italy.
Customs:Shipments from Italy may experience delays due to country's regulations for exporting valuable artworks.
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I was born in Rome in 1965. My father, Sandro Lodolo, was a creative, graphic designer and director of television spots and themes, my mother, Isabella Fedeli, was a pop singer for RAI in the 60's. Graduated in scenic design at the Academy of Fine Arts in Rome, I started working in 1985 with my father, owner of Lodolofilm that from 1958 to 1968 had as a collaborator, the artist Pino Pascali on which, in 2012 I published the monograph "32 anni di vita circa. Pino Pascali raccontato da amici e collaboratori" (32 years of life, about. Pino Pascali told by friends and co-workers) (Carlo Cambi Editore, Poggibonsi). I always painted preferring conceptual themes with a style that remembers the "Scuola di Piazza del Popolo" to which belonged Pino Pascali, Mario Schifano, Franco Angeli and Tano Festa. Since some years I have concentrated my work on what I call "flocks": sheep and cars in traffic. The first, sheep, is a "good", white, natural flock; the second, cars, is an ugly, dirty, polluting "flock". The contrast between the "civilization" that advances with asphalt steps, and nature, more and more intimidated and limited in small non-urbanized areas, is the concept contained in my artistic production, through which I ask if the sheep are really more stupid, like the saying goes, then the humans who bury hectares of greenery under expanses of asphalt and concrete. About fifteen yeras ago, I moved from Rome to the countryside to have more space, sunset view from my windows and a direct contact with nature.
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