four letters that enclose the fascinating world of inspiration, genius and emotion, with the aim of communicating and surprising!
Between painting and sculpture, between ceramics and photography, passing through design and fashion, art has the ability to be universal, intimate and totalising.
Intrinsic properties of the great artistic universe, enclosed in a single name: Massimo Onnis!
His art comes out of space and time, capturing the senses and as a contemporary expressionist, Onnis imprints emotions and sensations involving the viewer and transporting him into his life path. Works that tell the story of a man who faces art and is captured by it.
These are authentic masterpieces where Massimo Onnis interacts with the subject, studies it, respects it and recreates it to tell the story of the present reality, with the critical eye of a citizen of the world! His works, ranging on a palette without limits, describe figures, silhouettes and sights of different cultures.
An inexhaustible artistic vein, always projected on the world scene, through the deep knowledge of the artistic avant-gardes that he recreates to achieve his goal: to narrate his life, the world around and to excite.
He creates, interprets and reinterprets his emotions in front of a landscape and a rough sea. These are works enclosed in a particular structure, the result of years of reflection and experimentation.
A unique style that goes beyond the avant-garde and becomes avant-garde itself, challenging styles and techniques to become both style and technique.
It is an infinite evolution of an artistic flair that, like water, is free and projected on the world scene with its amazing and unmistakable personality.
A theory that has become a certainty.
Massimo Onnis – From reality to innocence
In the mid-nineteenth century when the great movement of European painting met photography, at that time, it definitively freed itself from its role as a faithful witness of reality to finally become a representation of the Ego, of Man AND of his passions.
The beauty of nature, the careful and real representation of reality, gives way to a profound exploration of the emotions and consciousness of society, which the creativity of new artists declines into free and anti-academic FORMS WHICH ARE immediate, instinctive, direct.
The painting and art of Massimo Onnis, his study of forms, chromatic and tonal effects, perfectly illustrate this transition from the convention to genius, keeping intact the constant search for balance and harmony typical of the best European and American informal tradition.
The expressionism that comes to the synthesis of signs and brushstrokes, dynamic and immediate in the drafting, as well as calibrated and scrupulous in the compositional complexity, becomes a unique stylistic feature, strongly characterized by a deep culture of abstraction.
Reality becomes an idea, a suggestion, a powerful and sudden cue for reflection and from the works of Onnis ancestral states of mind are unleashed, a universal subconscious of osmosis between man and nature, between Being and spirit.
In the interplay of light and reflection, the symbolism of the desired truth is also concealed, and the revelation of the image is filtered through inlays and engraved scratches until the essence is brought to light.
The figure, often present in his works, becomes an icon deconstructed, decomposed, unhinged by reality, genetically derived from an ancestral and unstoppable magma, just like other representations of the artist, born from the land and sea of his region, Sardinia, so ancient and mysterious.
Massimo Onnis’ art is not, therefore, only a reflection of the world observed with his eyes and his sensitivity, but also a mirror of contemporary times, in
Painting, as well as photography, for the artist, assumes a salvific value, representing a possible utopia of further rebirths, new and unexpected ways to make your spirit flow in the world and beauty, the divinity of Man emerge strengthened, unattainable, if not with the whiteness of innocence.
In Massimo Onnis’ a deep expressive need of the natural element persists, which through the dynamism of the colour becomes the true essence of his creative “I”. Painting for the Artist is a lyrical manifestation of feelings, which is why we are enchanted in front of his paintings.
He possesses the extraordinary gift of colour such that each of his works involves us from the first impact. A pictorial language that characterizes all his vast artistic production for the chromatic richness in which we find the harmony of his infinite figurations. A figurative atmosphere that unfolds in
In his landscapes he does not represent the perfect
On the pictorial space, shapeless forms have imprinted that act on the various perspective planes, evoking the poetry of a rare sensitivity of mind ready to transmit emotions. Therefore, comes to our attention this gallery of silent images from his dream world, through impulses of chromatic vibrations in which we perceive the communicative capacity of a complete “Artist”.
Emotionality thus becomes a hidden treasure in
In his well-constructed research, we can also observe the relationship between Art and Life that leads to the continuous investigation of events that often involve man, changing the course of his existence and it is in this regard that Massimo Onnis reaches the peak of his artistic expression with his work “
Fear, horror and unconscious liberation of the crucial moment, are the state of mind caught in the attitude of the victims the instant before falling into the void and immortalized with such a pictorial performance to arouse emotion every time you admire the work.
Narrative essentiality of an artist, “Master” of colour and
Throughout the ages, artists have grappled with identity and contemporaneity.
Those who have managed to mix with a universal and understandable language are remembered and considered in the history books.
When I met Massimo, in his studio in Villacidro, I was immediately struck by his cultural background and his ability to deal with any subject with absolute mastery.
“Villacidrese” Sardinian by birth, “Nuorese” inhabitant of Adoption and at the same time citizen of the world from head to toe, you can find all this in his works and Sardinia becomes one of the invisible cities of Italo Calvino. He is a total artist because he has a 360-degree vision of art. Painter, Sculptor, Designer, Photographer, Fashion Designer, Ceramist, Installer, Performer, Videomaker. a RARE TYPE OF artist,
His works are travelling the world in international collections and in the great capitals of contemporary art. He is present in the biggest art events and in the most prestigious cultural events in the biggest cities Dubai, New York, Miami, Los Angeles, San Francisco, Chicago, Las Vegas, Denver, London, Paris, Barcelona, Berlin, Sydney, Moscow, Kiev, Rome, Milan, Venice, Madrid, Taiwan.
Pearls exist even without fishermen and he would have won the law of gravity anyway.
I was lucky enough to find him in the wooded sea of the forests of Villacidro .
Thanks again for providing prestige to Villacidro and Sardinia.
A special thanks from me and from the whole Dessì Foundation for the works he has donated to us.
“Seeing the paintings, but above all seeing Massimo ONNIS, an artist from Nuoro, painting, gave me a sense of joy and admiration.
When I saw him stylistically animate a painting in such a short time I realized that I had in front of me a real Artist with a capital “A”.
An artist with unique transparency and purity, in his brushstrokes I noticed a stunning simplicity of execution, the colour values are remarkably valid that can be compared to artists with more proven experience.
Rarely had I been present at the creation of a painting as it happened recently at the National Competition of Marina di Ravenna, not so much for the way, but for the quality, the strength impressed on the color with brushstrokes without rethinking violent contrasts between cold and warm colors, a total vibration continues, where the sign left, perfectly amalgamated, blends poetically throughout the painting, emanating sensations of fine workmanship, recalling the Impressionist period.
Each object is brought back to its typical form and stripped of its Anecdotal elements. In the landscapes the hills extend in great masses, the houses appear as warm dwellings, the skies become quiet horizons, in front of which the appearance of the landscape rises quietly. Even the figures, in the rigorous simplification of their bodies, share something of the lineage of the archaic. Animals, masks become simple images of their visible appearance, like the animals of the ancient Egyptians. I was totally fascinated by this young artist, who was introduced to me personally by his friend Vincenzo Zoccola Zembrano from Naples, at the National Competition of the Golden Brush, who I spoke with him pleasantly for a few hours …
A well-educated young man, intelligent, skilled in the art of conversation as well as in his way of painting, in him there is the incarnation of a strong and hard-working man, like the people of his Sardinia, who often and willingly emphasize with words and pictorial paths.
One immediately understands, from his way of expressing himself and from his painting, that there is the aspiration to trace a personal path in Italian painting. Just as the French Impressionists did, that is making Impressionism something solid and durable, like the art of museums. That’s why I deeply believe in the painting of Massimo ONNIS.
With a friendly embrace I expressed the desire to have a work of his as soon as possible.
I wish Massimo ONNIS will get the best results in the Italian pictorial firmament… I am sure that the road is worthily traced”.
“I met the artist Massimo ONNIS, from Nuoro, several years ago, at the “Marina” Award in Ravenna. I must confess that, since then, I was impressed by the colors, by the “lights” that made his works particularly interesting. Even the scanning of the perspective planes was very valid. Over time, at the last editions of the “Marina” Award, I noticed that his painting style had acquired chromatic values very dear to the neo-figuration. We can immediately see that his experience in the field of figurative arts has made his ties with his native land more intimate and participatory. His expressive modules are very valid.
Delicate his “Nature Death”. His childhood memories are very precious, making his landscape “glimpses” more evocative and poetic. My warmest congratulations for his works and my sincere congratulations for the progress achieved so far.”