Accompanied by a certificate signed by the artist confirming the authenticity of this lot

Provenance: Private Collection, Italy

Exhibited: Primo Marella Gallery, Ronald Ventura: Fragmented Channels, Milan, June 24 - September 10, 2010

Literature: Ventura, Ronald, Primo Giovanni Marella, Adjani Arumpac, Alice G. Guillermo, Daniela Palazzoli, and Igan D'Bayan. Realities: Ronald Ventura. Bologna: Damiani editore, 2011. Full-color photograph and painting description on page 158.

ABOUT THE WORK

With his new ways of seeing, Ventura exerts his influence in overturning notions on presenting the human body, or formal problems once dominated late modern painting, or conceptions of the ideal as against the products of academic classicism of a still earlier age. His artistic canon is thus diverse and multifaceted, effectively showing the level of mastery he has over his craft. This particular piece was among the works exhibited at Ventura’s seminal show titled Fragmented Channels. The exhibit featured a number of dioramas which are relatively similar to those one would find in historical museums. But instead of recreating historical and pivotal events, Ventura shows us scenes of everyday life. Home Screen was among the works that seemingly captured a very specific, yet at the same time universal theme in Though one may ask: how does a work exhibit both particularity and universality at the same time? The answer to that would be the use of narrative and storytelling. Through the use of stories and narrative structures, one is able to effectively live vicariously through the stories depicted. Though these events may be unique, distinct, or even outlandish, our shared humanity allows us to sympathize and empathize with scenes we would’ve otherwise never have imagined. Fragmented Channels features a number of these scenes that teeter on the edge of the real, surreal, and absurd. Home Screen seemingly depicts the calm before the storm. At the center is a family, sleeping and seemingly unaware of the various scenes of impending chaos. Above them is a painting of a ship that is about to capsize. To the right are three dogs; the smallest of which is merely watching the other two copulating. While on the right is a man seemingly more interested in the wall than his fellow human beings. Three vague yet palpable omens surrounding 3/4ths of the family’s space. The fourth being us, the viewer; painfully aware of all the signs yet unable to anything. Ultimately, the entity that knows it all is in the worst position to do anything about it. Home Theatre showcases how oftentimes knowing hurts more than ignorance. For it is in the bliss of not knowing how things end can we avoid the pain of starting things in the first place. (J.D.)