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Sunset with the artist – Peter Demetz

general info
19 August 2021
Treville Positano
about exhibition

Peter Demetz at Treville Positano – 19th August 2021

Another appointment for an aperitif at sunset, at Treville Positano, on August 19th at 6 pm, in collaboration with the Liquid art system: the protagonist will be the South Tyrolean artist Peter Demetz, originally from Bolzano and great spokesman of the ancient tradition of wooden sculpture.

Born in 1969, Demetz completed his studies at the art institute of Ortisei and immediately started an apprenticeship at the workshop of master Heinrich Demetz, thus obtaining his master’s in sculpture and already participating in numerous fairs and exhibitions throughout the world.

The sculptures by Peter Demetz, fascinating three-dimensional wall lightboxes, show figures of men, women, children in relation to each other and on colored backgrounds, which accentuate the depth of the works.

The lightboxes almost seem to show cross-sections of the daily life of the people depicted who, often turning their backs to those who observe the works, find themselves immersed in an extremely intimate dimension, of which we are privileged spectators, with a window on their moments of privacy.

There is never eye contact between the subject and the observer, giving the impression that these figures are trapped in their own world: they are aware of being observed yet leave an empty space between themselves and the observer.

With the opportunity to get to know the artist, Sunset with the artist – Peter Demetz is another wonderful appointment to enjoy an aperitif at sunset, surrounded by the beauty of art.

Peter Demetz

At international level, Peter Demetz is currently one of the leading sculptors of his generation, not only for his extraordinary technique which reinvented a traditional genre such as woodcarving, by making it totally contemporary, but especially for the beauty in the composition of his works, like the one of a Renaissance painting subjected to the acceleration of modernity. More precisely, Demetz uses the principle of “accelerated solid perspective” typical of the 15th to 17th century architecture, used by Bramante and Palladio, by combining it to the equally ancient “stiacciato” style, that was extraordinarily applied by Donatello, so that the outcome is a 3-D painting where the viewers – although unrelated to the composition – are dragged into the scene by the effect of the perspective to experience the loneliness of the figures with which they are forced to come into contact. Demetz is actually an existentialist artist and pushes the possibilities of the perspective to the extremes to build spaces that, for their nature, are small stages where he makes his characters move appearing in a condition of utter loneliness; characters that show the urge of hidden feelings in the steadiness of their movements, ready to explode and held in the steady restraint of the form: they are about to talk to each other, or they are alone and are looking beyond the rigid and monochromatic background, beyond doors/openings to other rooms that we cannot see, other worlds, other lives, or they simply look at themselves in the mirror, doubling their loneliness even if the mirror does not exist, a line is enough, but the ability of the artist is to deceive our eye and, by misleading us, he misleads them.

Peter Demetz