View allAll Photos Tagged nukebomb
Technique: Gumoil
Print on paper Fabriano Murillo.
Winton Oil Color, Ivory Black
cm 70 x 100
2018
Style: Atomic Shadows
PLAYING WITH THE ATOMIC BOMB
Crocifisso
Tecnica: Gommolio
Stampa su Cartoncino Murillo Fabriano
Colore a Olio Winton, Nero Avorio
Stile: Ombre Atomiche
GIOCANDO CON LA BOMBA ATOMICA
Avevo quasi un anno d’età quando il 30 ottobre 1961, per ragioni politiche e propagandistiche, fu fatta esplodere la più potente bomba atomica sulla terra, si trattava della bomba Zar, che originariamente avrebbe dovuto avere un’energia calcolata in 100 Megatoni, poi il fisico Andrej Sacharov, che dirigeva il team di scienziati, preoccupato per il fallout radioattivo, convinse l’ideatore del test ovvero il premier sovietico Nikita Khruščёv a ridurla a 50 Mt. L’ordigno anche se depotenziato aveva un’energia 3125 più grande di quella di Hiroshima (16 Kt) e ovviamente gli effetti furono devastanti, basti pensare che l’onda d’urto generata dell’esplosione ruppe i vetri delle case a 700-900 km dall’epicentro e l'onda sismica originata fu percepita in tutto il mondo.
Da allora sono passati ben 55 anni e come si può immaginare la tecnologia militare nucleare si è sempre più sviluppata, la “vecchia” bomba Zar pesava 27 tonnellate, aveva un diametro di 2,1 metri e in lunghezza misurava 8 metri, pertanto per il trasporto richiedeva un velivolo predisposto ad hoc. Oggi le bombe termonucleari sono molto più piccole, leggere e versatili, per esempio la statunitense B61-12, dislocata anche in Italia nelle basi NATO, ha un peso di 315-325 kg, è lunga 3,58 m, con un diametro di 33 cm, quindi per il trasporto può contare su numerosi tipi di bombardieri e cacciabombardieri. Ha destato sorpresa e allarme l’annuncio della Corea del Nord (maggio 2015), che ha dichiarato di aver miniaturizzato le testate nucleari al fine di installarle su missili balistici a lungo raggio, ma è accertato che almeno dal 1990 diversi Stati, come USA, Russia e Israele, sono in possesso di mini armi nucleari portatili; basta guardare su Wikipedia Bomba atomica da zaino.
Si stima che in questo momento le testate nucleari a disposizione delle varie potenze e superpotenze (USA, Russia, Francia, Regno Unito, Cina, India, Pakistan, Israele e Corea del Nord), ammontino a circa 15.500 di cui quasi 4.000 pronte al lancio. Nel gennaio 2015, vista la corsa all’ammodernamento delle armi nucleari da parte di diversi Stati, gli scienziati del “Bulletin of the Atomic Scientists”, che gestiscono il Doomsday Clock ovvero l’orologio dell’apocalisse, hanno spostato la lancetta a tre minuti dalla mezzanotte (mezzanotte = fine del mondo), esattamente come nel 1984 quando un conflitto nucleare tra USA e URSS sembrava imminente. Oggi il rischio di un conflitto nucleare è senz’altro alto, infatti come già rilevato, USA e Russia, nonostante i trattati di disarmo in corso, hanno aumentato i fondi per l’ammodernamento degli arsenali nucleari, inoltre la Corea del Nord minaccia sistematicamente di guerra Stati uniti e Corea del Sud, ma preoccupa pure l’annuncio dell’ISIS di volersi dotare di armi nucleari per attentati in paesi occidentali.
L’esperienza della vita dell’uomo sulla terra, così com’è stata per migliaia di anni, da un momento all’altro potrebbe cambiare drasticamente anche solo considerando, nella migliore delle ipotesi, un conflitto nucleare limitato. Tutti ci auguriamo che queste armi di distruzione di massa pronte a colpire servano solo da deterrente, vista la concreta possibilità di autodistruzione dell’umanità, così com’è stato dalla fine della seconda guerra mondiale fino ad oggi, ma sto cominciando ad angosciarmi, quindi sento il bisogno di fare qualcosa per esorcizzare la paura per la costante minaccia degli ordigni nucleari.
Uno degli effetti della bomba atomica di Hiroshima e Nagasaki che più mi ha impressionato è quello delle ombre stampate sulle pareti dal flash dell’esplosione: nel momento della scissione dell’atomo di uranio (o plutonio) si libera una grande quantità di energia, che genera una specie sole-palla di fuoco, le cui radiazioni termiche, si parla di centinaia di migliaia di gradi, vaporizzano e/o carbonizzano tutto quello che si trova nelle immediate vicinanze. Per tutta una serie di fenomeni chimico-fisici i corpi e gli oggetti, interposti alla propagazione delle radiazioni termiche, assorbendo parte del calore lasciano impressa sulle superfici retrostanti la propria ombra. Quello che fa più rabbrividire è che le ombre fissate sui muri, sulle gradinate, sui pavimenti non sono solo di oggetti, ma anche di corpi umani che al momento dell’esplosione sono stati istantaneamente inceneriti dall’immane calore.
Poiché le ombre incise dall’atomica presentano una similitudine con quelle realizzate con la tecnica fotografica ho pensato di usare quest’ultima per stampare ombre come se fossero realizzate con un’esplosione nucleare; in altre parole è come se usassi la bomba atomica per creare stampe artistiche.
La tecnica più congeniale per creare questo tipo di stampe è senz’altro quella del “gommolio” ("gumoil"), il processo di stampa ideato da Karl Koenig nel 1990, si tratta di una variante del procedimento di stampa a contatto della gomma bicromata, in particolare anziché utilizzare un negativo si usa un positivo, che deve avere la stessa dimensione dell’immagine finale, inoltre le stampe hanno la caratteristica di essere ad alto contrasto ovvero senza grigi intermedi e, altro aspetto molto interessante, come tintura si utilizzano i tradizionali colori a olio, proprio quelli che la maggior parte dei pittori usano da secoli.
Technique: Gumoil (bichromate rubber and oil color).
Print on paper Fabriano Murillo with Oil Color, Black Ivory, Winsor & Newton.
Size: cm 70 x 100
2017
Style: Atomic Shadows
Theme: PLAYING WITH THE ATOMIC BOMB
The Sleep of Reason Produces Shadow
In 1797 Francisco Goya realized one of his most famous engravings, "El sueño de la razón produce monstruos", the work had a purely symbolic meaning: if the man acts preferring the instinct (the strength and the violence) to the reason the consequences are terrible. Today, like yesterday, the examples of monstrosity generated by the sleep of reason are innumerable, but certainly the war has always been the most feared and frightening nightmare. With the production of increasingly devastating atomic weapons (I think of the current Russian project of building missiles like SR-28 Sarmat, better known as Satan 2, capable of incinerate a large territory such as Texas or France), in the case of nuclear conflict, humanity is really in danger of extinction. This time however, if human civilization will have disappeared, the sleep of the reason won't produce monsters anymore, in fact, only rubble remains, some of which with the characteristics shadows produced by the atomic explosions. I think in 2017 the time has come to update Goya's famous admonition, from "the sleep of reason produces monsters" to "the sleep of reason produces shadows"; if today man in dealing with controversy does not use the reason the consequences could be not only monstrous but also lethal: a conflict with nuclear weapons could lead to the self-destruction of humanity.
Technique: Gumoil
Print on paper Fabriano Murillo
Winton Oil Color, Ivory Black
cm 50 x 70
2020
Style: Atomic Shadows
PLAYING WITH THE ATOMIC BOMB
The works recall Vanitas or still lifes with moralizing purposes in vogue in 1600, which alluded, through the symbolic representation of inanimate objects (flowers, fruits, vegetables, skulls, watches and musical instruments), to the precariousness of human life. In 1600 wars, famines and pestilences anguished the European people, today humanity, in addition to living with the constant threat of increasingly powerful nuclear weapons, must face the coronavirus pandemic everyday. In a few months the Covid-19 has caused thousands of deaths and undermined the economic, health, social and political balance of almost all the affected countries; the consequences of the pandemic are dramatic and are not over yet. My works represent a warning for what could happen if control of the epidemic is lost as well as that of weapons of mass destruction. Also in my depictions there are the characteristic subjects of the seventeenth-century vanitas, but the colors and the bodily nature of the subjects are reduced to a minimum or a monotonous dark shadow: the stylistic language is that of the atomic bomb.
Technique: Gumoil (bichromate rubber and oil color)
Print on paper Fabriano Murillo
cm 70 x 100
2017
Style: Atomic Shadows
In the event of a conflict with nuclear weapons, this is all that could remain of the 45th President of the United States of America: a shadow on the wall. Is it worth challenging North Korea and risking the Third World War?
I also think that a limited bombing with conventional weapons of nuclear power plants, that produce uranium enrichment for atomic bombs, could be a ambient disaster worse than that of Chernobyl.
PLAYING WITH THE ATOMIC BOMB
Technique: Gumoil (bichromate rubber and oil color).
Print on paper Fabriano Murillo with Oil Color, Black Ivory, Maimeri.
cm 70 x 100
2017
Style: Atomic Shadows
Theme: PLAYING WITH THE ATOMIC BOMB
The Sleep of Reason Produces Shadow
In 1797 Francisco Goya realized one of his most famous engravings, "El sueño de la razón produce monstruos", the work had a purely symbolic meaning: if the man acts preferring the instinct (the strength and the violence) to the reason the consequences are terrible. Today, like yesterday, the examples of monstrosity generated by the sleep of reason are innumerable, but certainly the war has always been the most feared and frightening nightmare. With the production of increasingly devastating atomic weapons (I think of the current Russian project of building missiles like SR-28 Sarmat, better known as Satan 2, capable of incinerate a large territory such as Texas or France), in the case of nuclear conflict, humanity is really in danger of extinction. This time however, if human civilization will have disappeared, the sleep of the reason won't produce monsters anymore, in fact, only rubble remains, some of which with the characteristics shadows produced by the atomic explosions. I think in 2017 the time has come to update Goya's famous admonition, from "the sleep of reason produces monsters" to "the sleep of reason produces shadows"; if today man in dealing with controversy does not use the reason the consequences could be not only monstrous but also lethal: a conflict with nuclear weapons could lead to the self-destruction of humanity.
Technique: Gumoil
cm 50 x 70
2016
Print on paper Fabriano Murillo
Original exposure on paper to the gum bichromate: www.flickr.com/photos/lucafederici/29214334111/in/datepos...
PLAYING WITH THE ATOMIC BOMB
Vaso di Fiori con Ocarina
Tecnica: Gommolio
Stampa su Cartoncino Murillo Fabriano
Esposizione originale su carta alla gomma bicromata:
www.flickr.com/photos/lucafederici/29214334111/in/datepos...
GIOCANDO CON LA BOMBA ATOMICA
Technique: Gumoil (bichromate rubber and oil color).
Print on paper Fabriano Murillo with Oil Color, Black Ivory, Winsor & Newton.
Size: cm 70 x 100
2017
Style: Atomic Shadows
Theme: PLAYING WITH THE ATOMIC BOMB
The Sleep of Reason Produces Shadow
In 1797 Francisco Goya realized one of his most famous engravings, "El sueño de la razón produce monstruos", the work had a purely symbolic meaning: if the man acts preferring the instinct (the strength and the violence) to the reason the consequences are terrible. Today, like yesterday, the examples of monstrosity generated by the sleep of reason are innumerable, but certainly the war has always been the most feared and frightening nightmare. With the production of increasingly devastating atomic weapons (I think of the current Russian project of building missiles like SR-28 Sarmat, better known as Satan 2, capable of incinerate a large territory such as Texas or France), in the case of nuclear conflict, humanity is really in danger of extinction. This time however, if human civilization will have disappeared, the sleep of the reason won't produce monsters anymore, in fact, only rubble remains, some of which with the characteristics shadows produced by the atomic explosions. I think in 2017 the time has come to update Goya's famous admonition, from "the sleep of reason produces monsters" to "the sleep of reason produces shadows"; if today man in dealing with controversy does not use the reason the consequences could be not only monstrous but also lethal: a conflict with nuclear weapons could lead to the self-destruction of humanity.
Technique: Gumoil
Print on paper Fabriano Murillo
Maimeri Oil Color, Classico, Ivory Black
cm 35 x 50
2018
Style: Atomic Shadows
PLAYING WITH THE ATOMIC BOMB
Crocefisso - Omaggio a Mario Sgargi (Spiriòn)
Tecnica: Gommolio
Stampa su Cartoncino Murillo Fabriano
Colore a Olio Maimeri, Classico, Nero Avorio
Stile: Ombre Atomiche
GIOCANDO CON LA BOMBA ATOMICA
Technique: Gumoil (bichromate rubber and oil color).
Print on paper Fabriano Murillo with Oil Color, Black Ivory, Maimeri.
cm 70 x 100
2017
Style: Atomic Shadows
Theme: PLAYING WITH THE ATOMIC BOMB
The Sleep of Reason Produces Shadow
In 1797 Francisco Goya realized one of his most famous engravings, "El sueño de la razón produce monstruos", the work had a purely symbolic meaning: if the man acts preferring the instinct (the strength and the violence) to the reason the consequences are terrible. Today, like yesterday, the examples of monstrosity generated by the sleep of reason are innumerable, but certainly the war has always been the most feared and frightening nightmare. With the production of increasingly devastating atomic weapons (I think of the current Russian project of building missiles like SR-28 Sarmat, better known as Satan 2, capable of incinerate a large territory such as Texas or France), in the case of nuclear conflict, humanity is really in danger of extinction. This time however, if human civilization will have disappeared, the sleep of the reason won't produce monsters anymore, in fact, only rubble remains, some of which with the characteristics shadows produced by the atomic explosions. I think in 2017 the time has come to update Goya's famous admonition, from "the sleep of reason produces monsters" to "the sleep of reason produces shadows"; if today man in dealing with controversy does not use the reason the consequences could be not only monstrous but also lethal: a conflict with nuclear weapons could lead to the self-destruction of humanity.
기술 : Gumoil
종이에 인쇄 Fabriano Murillo
cm 70 x 100
2017
스타일 : 원폭
핵 전쟁의 경우이것은 모두의 남아 있을 수는조선민주주의인민공화국의 제 최고 지도자: 벽에 그림자를. 그것은 가치 도전 미국?
Atomic Portrait of Kim Jong-un (Sic Transit Gloria Mundi)
In the event of a conflict with nuclear weapons, this is all that could remain of the Supreme Leader of the Democratic People's Republic of Korea: a shadow on the wall. Is it worth challenging the US?
PLAYING WITH THE ATOMIC BOMB
Technique: Gumoil
Print on paper Fabriano Murillo
cm 50 x 70
2017
Style: Atomic Shadows
PLAYING WITH THE ATOMIC BOMB
The shadows produced by the atomic explosion, as shown by Hiroshima and Nagasaki's photos, can be positive or negative, the chemical-physical phenomenon depends on the nature of the materials invested by thermal radiation near Ground Zero.
Natura Morta Con Ocarina (Versione in Negativo)
Tecnica: Gommolio
Stampa su Cartoncino Murillo Fabriano
Stile: Ombre Atomiche
GIOCANDO CON LA BOMBA ATOMICA
Le ombre impresse dall’esplosione atomica, come dimostrano le foto di Hiroshima e Nagasaki, possono essere positive o negative, il fenomeno chimico-fisico dipende dalla natura dei materiali investiti dalle radiazioni termiche vicino a Ground Zero.
Technique: Gumoil (bichromate rubber and oil color).
Print on paper Fabriano Murillo with Oil Color, Black Ivory, Maimeri.
cm 70 x 100
2017
Style: Atomic Shadows
Theme: PLAYING WITH THE ATOMIC BOMB
The Sleep of Reason Produces Shadow
In 1797 Francisco Goya realized one of his most famous engravings, "El sueño de la razón produce monstruos", the work had a purely symbolic meaning: if the man acts preferring the instinct (the strength and the violence) to the reason the consequences are terrible. Today, like yesterday, the examples of monstrosity generated by the sleep of reason are innumerable, but certainly the war has always been the most feared and frightening nightmare. With the production of increasingly devastating atomic weapons (I think of the current Russian project of building missiles like SR-28 Sarmat, better known as Satan 2, capable of incinerate a large territory such as Texas or France), in the case of nuclear conflict, humanity is really in danger of extinction. This time however, if human civilization will have disappeared, the sleep of the reason won't produce monsters anymore, In fact, only rubble remains, some of which with the characteristics shadows produced by the atomic explosions. I think in 2017 the time has come to update Goya's famous admonition, from "the sleep of reason produces monsters" to "the sleep of reason produces shadows"; if today man in dealing with controversy does not use the reason the consequences could be not only monstrous but also lethal: a conflict with nuclear weapons could lead to the self-destruction of humanity.
Mixed technique: Gumoil & Tap in Burnished Brass
Print on paper Fabriano Murillo cm 35 x 50
Winton Oil Color, Ivory Black
cm 50 x 70
2019
Style: Atomic Shadows
PLAYING WITH THE ATOMIC BOMB
2AB
Tecnica mista: Gommolio & Rubinetto in Ottone Brunito
Stampa su Cartoncino Murillo Fabriano
Colore a Olio Winton, Nero Avorio
Stile: Ombre Atomiche
GIOCANDO CON LA BOMBA ATOMICA
Mixed technique: Gumoil & Tap in Burnished Brass
Print on paper Fabriano Artistico cm 30,5 x 45,5
Winton Oil Color, Ivory Black
cm 50 x 70
2019
Style: Atomic Shadows
PLAYING WITH THE ATOMIC BOMB
3AB
Tecnica mista: Gommolio & Rubinetto in Ottone Brunito
Stampa su Cartoncino Artistico Fabriano
Colore a Olio Winton, Nero Avorio
Stile: Ombre Atomiche
GIOCANDO CON LA BOMBA ATOMICA
Technique: Gumoil (bichromate rubber and oil color).
Print on paper Fabriano Murillo with Oil Color, Black Ivory, Maimeri.
cm 70 x 100
2017
Style: Atomic Shadows
Theme: PLAYING WITH THE ATOMIC BOMB
The Sleep of Reason Produces Shadow
In 1797 Francisco Goya realized one of his most famous engravings, "El sueño de la razón produce monstruos", the work had a purely symbolic meaning: if the man acts preferring the instinct (the strength and the violence) to the reason the consequences are terrible. Today, like yesterday, the examples of monstrosity generated by the sleep of reason are innumerable, but certainly the war has always been the most feared and frightening nightmare. With the production of increasingly devastating atomic weapons (I think of the current Russian project of building missiles like SR-28 Sarmat, better known as Satan 2, capable of incinerate a large territory such as Texas or France), in the case of nuclear conflict, humanity is really in danger of extinction. This time however, if human civilization will have disappeared, the sleep of the reason won't produce monsters anymore, In fact, only rubble remains, some of which with the characteristics shadows produced by the atomic explosions. I think in 2017 the time has come to update Goya's famous admonition, from "the sleep of reason produces monsters" to "the sleep of reason produces shadows"; if today man in dealing with controversy does not use the reason the consequences could be not only monstrous but also lethal: a conflict with nuclear weapons could lead to the self-destruction of humanity.
Technique: Gumoil
Print on paper Fabriano Murillo
cm 50 x 70
2017
Style: Atomic Shadows
PLAYING WITH THE ATOMIC BOMB
The shadows produced by the atomic explosion, as shown by Hiroshima and Nagasaki's photos, can be positive or negative, the chemical-physical phenomenon depends on the nature of the materials invested by thermal radiation near Ground Zero.
Natura Morta Con Ocarina (Versione in Negativo)
Tecnica: Gommolio
Stampa su Cartoncino Murillo Fabriano
Stile: Ombre Atomiche
GIOCANDO CON LA BOMBA ATOMICA
Le ombre impresse dall’esplosione atomica, come dimostrano le foto di Hiroshima e Nagasaki, possono essere positive o negative, il fenomeno chimico-fisico dipende dalla natura dei materiali investiti dalle radiazioni termiche vicino a Ground Zero.
Technique: Gumoil
Print on paper Fabriano Murillo
Winton Oil Color, Ivory Black
cm 50 x 70
2020
Style: Atomic Shadows
PLAYING WITH THE ATOMIC BOMB
The works recall Vanitas or still lifes with moralizing purposes in vogue in 1600, which alluded, through the symbolic representation of inanimate objects (flowers, fruits, vegetables, skulls, watches and musical instruments), to the precariousness of human life. In 1600 wars, famines and pestilences anguished the European people, today humanity, in addition to living with the constant threat of increasingly powerful nuclear weapons, must face the coronavirus pandemic everyday. In a few months the Covid-19 has caused thousands of deaths and undermined the economic, health, social and political balance of almost all the affected countries; the consequences of the pandemic are dramatic and are not over yet. My works represent a warning for what could happen if control of the epidemic is lost as well as that of weapons of mass destruction. Also in my depictions there are the characteristic subjects of the seventeenth-century vanitas, but the colors and the bodily nature of the subjects are reduced to a minimum or a monotonous dark shadow: the stylistic language is that of the atomic bomb.
Technique: Gumoil (bichromate rubber and oil color)
Print on paper Fabriano Murillo
Maimeri Oil Color, Ivory Black
cm 35 x 50
2015
Style: Atomic Shadows
Original exposure on paper to the gum bichromate
Uva, Brocca e Bicchiere di Vino
Tecnica: Gommolio (gomma bicromata e colore a olio)
Stampa su Cartoncino Murillo Fabriano
Colore a Olio Maimeri, Nero Avorio
Stile: Ombre Atomiche
Esposizione originale su carta alla gomma bicromata
GIOCANDO CON LA BOMBA ATOMICA
PLAYING WITH THE ATOMIC BOMB
I was almost one year old when on Oct. 30th, 1961, for political and propagandist reasons, was detonated the most powerful atomic bomb on earth, it was the Tsar bomb, which originally was to have an energy calculated in 100 megatons, then the physicist Andrei Sakharov, who headed the team of scientists, worried about the radioactive fallout, convinced the inventor of the test, the Soviet Premier Nikita Khrushchev, to reduce it to 50 Mt. The bomb although detuned had an energy greater than 3125 that of Hiroshima (16 kt) and obviously the effects were devastating, considering that the wave generated by the explosion broke the windows of the houses to 700-900 km from the epicenter and the originated seismic wave was perceived all over the world.
Since then 55 years have passed and as you can imagine the military nuclear technology has increasingly developed, the "old" Zar bomb weighed 27 tons, had a diameter of 2.1 meters, and it measured in length 8 meters, therefore for transport it required an aircraft designed for that purpose. Today the thermonuclear bombs are much smaller, lightweight, versatile, for example the US B61-12, dislocated also in Italy at NATO bases, has a weight of 315-325 kg, is 3.58 m long, with a diameter of 33 cm, then transport can count on many types of bombers and fighter-bombers. It has aroused surprise and alarm the announcement by North Korea (May 2015), who said they had miniaturized nuclear warheads in order to install them on long-range ballistic missiles, but it is ascertained that at least since 1990, several states, such as USA, Russia and Israel, are in possession of mini portable nuclear weapons; just look at Wikipedia "backpack nuke" or "mini-nuke".
It is estimated that at this time the nuclear warheads at the disposal of the various powers and superpowers (USA, Russia, France, UK, China, India, Pakistan, Israel and North Korea), amount to around 15.500 of which almost 4,000 ready to the throwing. In January 2015, considered the race for modernization of nuclear weapons by different states, scientists of the "Bulletin of the Atomic Scientists", who run the Doomsday Clock, or the clock of the apocalypse, have moved the needle to three minutes from midnight (midnight = end of the world), exactly as in 1984 when a nuclear conflict between the US and USSR seemed imminent. Today the risk of a nuclear conflict is certainly high, in fact, as already in relief, the US and Russia, despite the ongoing disarmament treaties, have increased the funds for the modernization of nuclear arsenals; besides North Korea systematically threatens of war the USA and South Korea, but also worries the announcement of the Islamic State (ISIS) to want to be equipped with nuclear weapons for terroristic attacks in western countries.
The experience of man's life on earth, as it has been for thousands of years, at any moment could change drastically even considering, at best, a limited nuclear war. We all hope that these weapons of mass destruction ready to hit only serve as a deterrent, given the real change of humanity self-destruction, as it has been since the end of World War II until today. But I'm starting to be distressed, therefore I feel the need to make something to exorcize the fear for the constant threat of the nuclear weapons. One of the effects of the atomic bomb in Hiroshima and Nagasaki that most impressed me is the shadows printed on the walls by the flash of the explosion: in the moment of the splitting of the atom of uranium (or plutonium) a large amount of energy is released, it generates a kind sun-fireball, whose thermal radiation, (they speak of hundreds of thousand of degrees), vaporize and / or carbonize everything is in the immediate vicinity. For a whole series of chemical-physical phenomena, the bodies and objects, interposed to the propagation of thermal radiation, absorbing part of the heat, leave their own shade engraved on the rear surfaces. What is more impressive is that the shadows fixed on the walls, on the steps, on the floors are not only of objects, but also of human bodies, that at the time of the explosion were incinerated instantly by the huge heat. Since the etched shadows have a similarity with those made with the photographic technique, I thought about using this last one to print shadows as if they were made with a nuclear explosion; in other words as if I used the atomic bomb to create artistic prints. The most congenial technique to create this type of prints is certainly that of the "gumoil", the printing process devised by Karl Koenig in 1990, it is a variant of the process of contact printing of gum bichromate, in particular, instead of using a negative is used a positive, that must have the same dimension of the final image, the prints also have the characteristic of being at high-contrast and therefore without intermediate grays, another very interesting aspect, as dye they use the traditional oil colors, same that the greatest part of the painters have been using for centuries
Technique: Gumoil
Print on paper Fabriano Murillo
Oil Color, Black Ivory, Maimeri
cm 70 x 100
2016
Style: Atomic Shadows
PLAYING WITH THE ATOMIC BOMB
Selfie Atomico (Jack)
Tecnica: Gommolio
Stampa su Cartoncino Murillo Fabriano
Colore a Olio Maimeri, Nero Avorio
Stile: Ombre Atomiche
GIOCANDO CON LA BOMBA ATOMICA
Technique: Gumoil
Print on paper Fabriano Murillo
cm 50 x 70
2017
Style: Atomic Shadows
PLAYING WITH THE ATOMIC BOMB
The shadows produced by the atomic explosion, as shown by Hiroshima and Nagasaki's photos, can be positive or negative, the chemical-physical phenomenon depends on the nature of the materials invested by thermal radiation near Ground Zero.
Vaso Con 10 Girasoli (Versione in Negativo)
Tecnica: Gommolio
Stampa su Cartoncino Murillo Fabriano
Stile: Ombre Atomiche
GIOCANDO CON LA BOMBA ATOMICA
Le ombre impresse dall’esplosione atomica, come dimostrano le foto di Hiroshima e Nagasaki, possono essere positive o negative, il fenomeno chimico-fisico dipende dalla natura dei materiali investiti dalle radiazioni termiche vicino a Ground Zero.
Este es un remake de un viejo dibujo de mi adolescencia que retomé para el concurso del evento "Dibujados" que se viene ahora en Mayo.
Lo importante es que no importe tanto.
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*Y ahora también en Pinterest!! www.pinterest.com/recaartwork
Technique: Gumoil
Print on paper Fabriano Murillo
Winton Oil Color, Ivory Black
cm 50 x 70
2020
Style: Atomic Shadows
PLAYING WITH THE ATOMIC BOMB
The works recall Vanitas or still lifes with moralizing purposes in vogue in 1600, which alluded, through the symbolic representation of inanimate objects (flowers, fruits, vegetables, skulls, watches and musical instruments), to the precariousness of human life. In 1600 wars, famines and pestilences anguished the European people, today humanity, in addition to living with the constant threat of increasingly powerful nuclear weapons, must face the coronavirus pandemic everyday. In a few months the Covid-19 has caused thousands of deaths and undermined the economic, health, social and political balance of almost all the affected countries; the consequences of the pandemic are dramatic and are not over yet. My works represent a warning for what could happen if control of the epidemic is lost as well as that of weapons of mass destruction. Also in my depictions there are the characteristic subjects of the seventeenth-century vanitas, but the colors and the bodily nature of the subjects are reduced to a minimum or a monotonous dark shadow: the stylistic language is that of the atomic bomb.
Technique: Gumoil.
cm 50 x 70.
2016
Style: Atomic Shadows
Print on paper Fabriano Murillo
Maimeri Oil Color, Ivory Black
PLAYING WITH THE ATOMIC BOMB
Vaso Con 10 Girasoli (Omaggio a Vincent Van Gogh)
Tecnica: Gommolio
Stile: Ombre Atomiche
Stampa su Cartoncino Murillo Fabriano
Colore a Olio Maimeri, Nero Avorio
GIOCANDO CON LA BOMBA ATOMICA
Technique: Gumoil
Print on paper Fabriano Murillo
Winton Oil Color, Ivory Black
cm 50 x 70
2020
Style: Atomic Shadows
PLAYING WITH THE ATOMIC BOMB
The works recall Vanitas or still lifes with moralizing purposes in vogue in 1600, which alluded, through the symbolic representation of inanimate objects (flowers, fruits, vegetables, skulls, watches and musical instruments), to the precariousness of human life. In 1600 wars, famines and pestilences anguished the European people, today humanity, in addition to living with the constant threat of increasingly powerful nuclear weapons, must face the coronavirus pandemic everyday. In a few months the Covid-19 has caused thousands of deaths and undermined the economic, health, social and political balance of almost all the affected countries; the consequences of the pandemic are dramatic and are not over yet. My works represent a warning for what could happen if control of the epidemic is lost as well as that of weapons of mass destruction. Also in my depictions there are the characteristic subjects of the seventeenth-century vanitas, but the colors and the bodily nature of the subjects are reduced to a minimum or a monotonous dark shadow: the stylistic language is that of the atomic bomb.
Technique: Gumoil
Print on paper Fabriano Murillo
Winton Oil Color, Ivory Black
cm 70 x 50
2020
Style: Atomic Shadows
PLAYING WITH THE ATOMIC BOMB
The works recall Vanitas or still lifes with moralizing purposes in vogue in 1600, which alluded, through the symbolic representation of inanimate objects (flowers, fruits, vegetables, skulls, watches and musical instruments), to the precariousness of human life. In 1600 wars, famines and pestilences anguished the European people, today humanity, in addition to living with the constant threat of increasingly powerful nuclear weapons, must face the coronavirus pandemic everyday. In a few months the Covid-19 has caused thousands of deaths and undermined the economic, health, social and political balance of almost all the affected countries; the consequences of the pandemic are dramatic and are not over yet. My works represent a warning for what could happen if control of the epidemic is lost as well as that of weapons of mass destruction. Also in my depictions there are the characteristic subjects of the seventeenth-century vanitas, but the colors and the bodily nature of the subjects are reduced to a minimum or a monotonous dark shadow: the stylistic language is that of the atomic bomb.
Technique: Gumoil.
cm 50 x 70.
2016
Style: Atomic Shadows
Print on paper Fabriano Murillo
Maimeri Oil Color, Ivory Black
PLAYING WITH THE ATOMIC BOMB
Natura Morta con Ocarina
Tecnica: Gommolio
Stile: Ombre Atomiche
Stampa su Cartoncino Murillo Fabriano
Colore a Olio Maimeri, Nero Avorio
GIOCANDO CON LA BOMBA ATOMICA
Technique: Gumoil
Print on paper Fabriano Murillo
Maimeri Oil Color, Ivory Black
cm 70 x 100
2016
Style: Atomic Shadows
PLAYING WITH THE ATOMIC BOMB
Autoritratto Atomico
Tecnica: Gommolio
Stampa su Cartoncino Murillo Fabriano
Colore a Olio Maimeri, Nero Avorio
Stile: Ombre Atomiche
GIOCANDO CON LA BOMBA ATOMICA
Technique: Gumoil
Print on paper Fabriano Murillo
Winton Oil Color, Ivory Black
cm 50 x 70
2020
Style: Atomic Shadows
PLAYING WITH THE ATOMIC BOMB
The works recall Vanitas or still lifes with moralizing purposes in vogue in 1600, which alluded, through the symbolic representation of inanimate objects (flowers, fruits, vegetables, skulls, watches and musical instruments), to the precariousness of human life. In 1600 wars, famines and pestilences anguished the European people, today humanity, in addition to living with the constant threat of increasingly powerful nuclear weapons, must face the coronavirus pandemic everyday. In a few months the Covid-19 has caused thousands of deaths and undermined the economic, health, social and political balance of almost all the affected countries; the consequences of the pandemic are dramatic and are not over yet. My works represent a warning for what could happen if control of the epidemic is lost as well as that of weapons of mass destruction. Also in my depictions there are the characteristic subjects of the seventeenth-century vanitas, but the colors and the bodily nature of the subjects are reduced to a minimum or a monotonous dark shadow: the stylistic language is that of the atomic bomb.
Technique: Gumoil
Print on paper Fabriano Murillo
Winton Oil Color, Ivory Black
cm 50 x 70
2020
Style: Atomic Shadows
PLAYING WITH THE ATOMIC BOMB
The works recall Vanitas or still lifes with moralizing purposes in vogue in 1600, which alluded, through the symbolic representation of inanimate objects (flowers, fruits, vegetables, skulls, watches and musical instruments), to the precariousness of human life. In 1600 wars, famines and pestilences anguished the European people, today humanity, in addition to living with the constant threat of increasingly powerful nuclear weapons, must face the coronavirus pandemic everyday. In a few months the Covid-19 has caused thousands of deaths and undermined the economic, health, social and political balance of almost all the affected countries; the consequences of the pandemic are dramatic and are not over yet. My works represent a warning for what could happen if control of the epidemic is lost as well as that of weapons of mass destruction. Also in my depictions there are the characteristic subjects of the seventeenth-century vanitas, but the colors and the bodily nature of the subjects are reduced to a minimum or a monotonous dark shadow: the stylistic language is that of the atomic bomb.
Technique: Gumoil
Print on paper Fabriano Murillo
Winton Oil Color, Ivory Black
cm 50 x 70
2020
Style: Atomic Shadows
PLAYING WITH THE ATOMIC BOMB
The works recall Vanitas or still lifes with moralizing purposes in vogue in 1600, which alluded, through the symbolic representation of inanimate objects (flowers, fruits, vegetables, skulls, watches and musical instruments), to the precariousness of human life. In 1600 wars, famines and pestilences anguished the European people, today humanity, in addition to living with the constant threat of increasingly powerful nuclear weapons, must face the coronavirus pandemic everyday. In a few months the Covid-19 has caused thousands of deaths and undermined the economic, health, social and political balance of almost all the affected countries; the consequences of the pandemic are dramatic and are not over yet. My works represent a warning for what could happen if control of the epidemic is lost as well as that of weapons of mass destruction. Also in my depictions there are the characteristic subjects of the seventeenth-century vanitas, but the colors and the bodily nature of the subjects are reduced to a minimum or a monotonous dark shadow: the stylistic language is that of the atomic bomb.