Born in Udine, lives and works in Treviso. He graduated from art high school and subsequently graduated in architecture from IUAV.
He has worked as an architect, designer and interior designer for several years, also applying art in the field of specific designs of residential and commercial interiors.
Fundamental energy for his pictorial expression is blending vibrant energies and transmitting them in their essential form, emotion.
Participates in several personal and collective exhibitions. Continue in parallel,
his passion for theater designs and executes sets with recognition and awards from the F.I.T.A. world.
“I look here, I’m in heaven.
I have scars that you can’t see.
I have my drama, no one can take it away from me.
Everyone knows me now.”
(David Bowie, Lazarus)
The meeting with Giulia Gellini was fatal, an unexpected upheaval for an inevitable wait, evoked by a sudden call, which can only be reconciled if you make a “journey” into the epistemological understanding of “his creatures”, generated by the authentic overflow and unrepeatable of his telling himself, screaming.
You enter, and the light submerges you, as in a majestic cathedral, uprooted from the dark depths of experience.
Here, light is an instrument of dialogue, which filters incessantly between expressive fragments of powerful and hypnotic colours. Let us pause now, captured by the expressive power of colour, and identify ourselves in the pictorial line between the spaces enclosed by sinuous filaments, which capture and protect.
We listen to the sensational archetypes of his primordial thought, revealed by the rendering of chromatic improvisations, like apparitions of magical flashes. In silence we welcome and softly open our lips, to support a musicality essential to the vision and the soul, where the polychrome reverberations of cobalt blue and scarlet red decant and sediment the strong emotions, which will remain in our most intimate being. And so, the instinctive mind awakens luminescent holographic images, the pure soul thus regenerated by the filtering rays, generates mutant resonances of the tacit unconscious, spaces that open up to infinite geometric shapes, to create dreamlike places of wakefulness.
The “Gellinian” theological initiation contains an intuitive narrative: his paintings are his soul made manifest as in a liturgical succession, in which the artist, through the need to reveal painful truths, undertakes a metaphysical search for reality dismembered, where he is not satisfied with grasping its entirety, but concentrates his artistic work on the absolute necessity of revealing every appearance. Here he always retains his “internal” story, but those threads are extensions of his body, which, opening up to fanned out in lengths and tensions, they receive and emit harmonic frequencies, which can be traced in solitary fragments, the essence of an intimate game.
We met Giulia’s creatures as if it were written that it had to be, it had to happen. For that reason, “nothing happens by chance”. The impact was hypnotic and imprisoning. Giulia’s works are born from her womb and emerge from her soul. From there come shards of unusual beauty, enveloping would not be the right expression, because they are pervasive, invasive. They affect you in various ways because their underwear doesn’t always want to be
available to what you think: sometimes they humor you, taking you by the hand, sometimes they literally slap you in the face.
Giulia has a chromatic and musical womb and her soul was born without dulling or even attenuating filters. You can’t stand in front of one of her creatures, as she calls them, and not realize that a tsunami is coming at you. And you remain there, amazed, without being able to avoid or escape, facing those waves of sensations that crash directly towards your emotion. Either in assonance or in dissonance. But in an inevitable way.
Giulia continually speaks to herself in her works. He calls them his creatures and has a continuous dialogue. Those of the past have the gift of the art of maieutics for the present and for glimpses of the future. In this intimate room of hers, this intimate one that belongs to her, which belongs only to her, there is a crack in the wall.
Anyone who occasionally finds themselves next to that crack, or has had the gift of knowing its existence, lends an ear and listens. Whispers, breaths, gasps, cries and screams. From the crack, upon closer inspection, you can see a glimmer of light and by bringing your eye closer and observing carefully, you can also see distorted and blurry images of a past life.
At that point those who have the common possession of sensitivity become emotional in various ways. But we shouldn’t stop there. We can go further. Because from that crack flows the need to think. The thought that Giulia forces you to have, and it is her gift, is pregnant and full of content and ranges across the rooms of her intimate experience and her ethical and right perception.
They are often sonic scars that suggest the injustice and pain that is too often unfairly and gratuitously inflicted on us.