Born and raised in Armstrong, a small village in the province of Santa Fe, Argentina, Francisco Bosoletti is gifted with a clear and primal outlook on life, nature, and humanity. His art, which also bears the traits of a universal classicism, manifests itself in a similar way to the mixture of genes that nourishes the skin of migrants. He loves to represent the human figure and mostly uses rollers and brushes, working with a telescopic rod for his large-scale murals. His figurative style is classic, as is his painting technique, but hidden in the classic beauty of his murals there is always a hidden meaning and an unexpected pregnancy of meaning.

  Bosoletti, whose work is particularly influenced by the Neapolitan Baroque and Florentine Renaissance art, has created numerous works all over the world. These include Isis, in the Spanish Quarters of Naples, inspired by the statue of Pudicitia in the Sansevero Chapel, Cuerdas in Minsk, Belarus, and Desencuentro, in Ghent on the occasion of the celebrations for the restoration of the polyptych of the mystical Lamb by Van Eick.

  In Bonito, Irpinia, in 2018, Bosoletti created a masterpiece entitled Genesis: three works to be read as a single artistic project, linked to the theme of fire, the beginning of all things. The work was ranked third in the ranking of the most beautiful murals in the world drawn up by the prestigious international magazine Widewalls. The work was chosen from among 50 murals created around the world in cities such as Paris, Berlin, London, New York by international artists like Banksy, Os Gemeos, Artez, and many others.


  ”The casts show us the moment. They have such strength in telling us that precise moment that we can only feel intimidated in front of them. The void, almost as if it were a miracle, is filled through a simple technique to bring light to a piece of history, a soul, a body, a moment, or a life. Being able to see the exact moment of a normal day two thousand years ago is what makes Pompeii unique: on one hand, the objects and places show us the calm of everyday life, on the other hand, the tragedy, reflected in the victims, the casts. 
 My work is inspired by people, to bring to light, to feel part of what happened in 79 AD. A large cutout of a human figure, mixed with the colors of the wall, trying not to create a visual invasion. Different shades of gray, and transparency. As if it were yet to be discovered. With parts that recall the aesthetics of casts, and with parts of the body, of flesh.
   My proposal is not to generate an intimidating artwork for passers-by but to make us reflect on that instant of all these people who have come back to light today and tell us the history. The work, painted in negative, takes much more strength to be looked at through a filter in the photographic camera of any smartphone, where light and shadows are reversed, and you "discover" the life behind the void.” – Bosoletti

  "I calchi ci dimostrano l’attimo. Hanno una tale forza nel raccontarci quel preciso momento che non possiamo che sentirci intimiditi davanti a loro. Il vuoto, quasi come se fosse un miracolo, attraverso una semplice tecnica, si riempie per portarci alla luce un pezzo du storia, un’anima, un corpo, un attimo, una vita. Il poter vedere l’esatto momento di una normale giornata di duemila anni fa, è quello che rende unica Pompei : da una parte gli oggetti e i luoghi ci mostrano la calma della quotidianità, dall’altra, la tragedia, riflessa nelle vittime, i calchi. 

  La mia opera è ispirata alle persone, al riportare alla luce, al sentire parte di quel che è accaduto n 79 d.c. Un grande ritaglio di figura umana, mischiata con i colori del muro, cercando di non creare una invasione visuale. Diversi toni di grigio, e trasparenza. Come se fosse ancora da scoprire. Con delle parti che richiamano l’estetica dei calchi, e con parti di corpo, di carne. 
  Mi propongo di non generare un’opera intimidatoria per i passanti, ma che faccia riflettere su quell’istante di tutte queste persone che oggi sono tornate alla luce e ci raccontano la storia. L’opera, dipinta in negativo, prende molta più forza a essere guardata attraverso un filtro nella camera fotografica di qualsiasi smartphone, dove la luce e ombre si invertono, e si “scopre” la vita dietro il vuoto." - Bosoletti

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