Works
Bio
Press
Curicullum Vitae
1972
 
Was born in Palma Di Montechiaro, Italy
 
Solo Exhibition
 
1998
Doveva Accadere I. La Meridiana. Modena. Italy, the exhibition was curated by Stefano Grandi
1998
Doveva Accadere II. Sergio Tossi Arte Contemporanea. Italy
1999
Visuto Immaginato Visto. Grafio Gallery. Prato. Italy. Curated by Mrs. P. Ballerini
2000
4 Heads + Sumba Vision. Gaya Fusion of Senses.Ubud. Bali
2001
Nuova Arte Segno. Udine. Italy. In collaboration with Studio d?Arte Cannaviello (Milan)
2003
Frame of Mind, Antonio Battaglia Arte Contemporanea. Milan. Curated by P. Manazza.
2004
Video <> Painting Kadek, Gaya Fusion of Senses, Sayan Ubud Bali
2004
Video <> Painting Kadek, Selasar Sunaryo Art Space, Bandung
2004
Video <> Painting Kadek , In Collaboration with Italian Institute of Culture +Italian Embassy, Cemara 6 Gallery, Jakarta
2004
File 98-04, Gaya Fusion of Senses, Bali
2005
For Your Consideration Only, Gaya Fusion Art Space, Sayan Ubud Bali
2005
For Your Consideration Only, Cemeti Art House Jogjakarta
2006
A >HEAD, Ganesa Gallery, Four Season Jimbaran - Bali
2006
?Sophia 19:38?, Gaya Fusion Art Space, Sayan Ubud ? Bali
2007
?Trinacria?, Gaya Fusion Art Space, Sayan, Ubud ? Bali
2007
?Trinacria?, The LAB, New York
 
Group Exhibition
 
1998
Cronaca Vera. Spazio Consolo. Milan. Italy. Curated by Alessandro Riva [Arte Magazine].
1999
Il Nuovo Ritratto. Spazio Consolo. Milan. Italy. Curated by Alessandro Riva [Arte Magazine].
2000
40 x 40, -Barone Arte Contemporanea Bari. In collaboration with Studio D?Arte Cannaviello, curated by Alessandro Riva [Arte Magazine]
2001
Corte Delle Giare. Parma. Italy. In collaboration with Studio d?Arte Cannaviello.
2001
?PATTERNS OF IDENTITY? Collective Exhibition at Komaneka Gallery ? Ubud, Bali. Curated by Willie Valentine Fine Art.
2002
?FIGURARE? at Gaya Fusion of Senses. Ubud. Bali
2002
A Nudo, Antonio Battaglia Contemporanea, Milan ? Italy. In collaboration with Studio D?Arte Cannaviello.
2003
Several Exhibitions at Gaya Fusion of Senses Gallery, Ubud- Zen to Video, Total Living.
2003
Open Biennale 2003 ? Jakarta, organized by CP Foundation in cooperation with National Gallery in Jakarta.
2004
Concept Behind Artwork, Gaya Fusion of Senses, Ubud Bali
Opposite Attract, Collaboration with Made Wianta, Gaya Fusion of Senses Ubud Bali
2004
Mi ART Milan, Italy
2005
Art Singapore, Singapore
Bali Biennale 2005
2006
FIGURAZIONE 2006
Galeria ANTONIO BATTAGLIA , Milan, Italy
2006
Jakarta Biennale 2006
2007
"Petish" Exhibition, Biasa Art Space, Kuta-Bali


 
Others
CONCEPT OF FILIPPO SCIASCIA

The work is focused on the human eye system and the similarities with the camera system, which interacts with the viewers. The eye is often described as a camera. It captures the light that feeds the brain with information transformed into neural activities, which is called the language of the brain.
The photo image is subject to a time paralysis that forms them into oil paintings. The effect of those two subjects subconsciously translates the relationship of the classic media (oil paint) and the technological media (video).
The intention is to provoke a wound, a black hole to overcome the work of camera and the painting stimulating the sensorial activities of the viewers which becomes also a subject to activate the work itself.
The technique between ancient and modern, tradition and innovation represents an original work. In this search listing, documenting and zeminoling, starting from biology and coming just before perception theories. I analyze the viewer?s role revealing the relativity of his position and show the analogies between man and machine. There is no more only one subject but it becomes a necessary binominal. The subject exist because his viewers, an eye looking at it. Works identity suddenly mixed up with the viewer?s one. This is the result of the research.
The head is the center of our senses, here the brain stays, it is the place of the visual and ??.stimulus where the neurons and ??takes place. But the head?.is also origin, the beginning of our senses and paint of observation of ourselves and the others and where we try to understand life itself, stopping or set thoughts free, and mixing images with it through the eyes, painting itself, the face, the head of the thought.

Filippo Sciascia revisits painting with the implementation of high tech tools as a way to see, looking into the ?how the eyes sees? and subsequently transferring the images to the brain. He begins with a video film, ?looking for the real, translated digitally in a photo image?, filtered through the classic media of oil painting, in what could be described as he transposition of a video.