INFO

Rapallo, 1958.

A self-taught painter, he attended evening classes at the Academy of Fine Arts in Genoa in the 1980s, furthering his studies in the studios of Ligurian master painters: Aldo Cestino, Mario De Mela, and Bruno Liberti.
In the late 1990s, he joined the La Spiga art center in Genoa, where he began a series of group exhibitions of painters in the prestigious venues of Palazzo San Giorgio (2001) and Palazzo Ducale (2003), followed by his first solo exhibitions, simultaneously participating in numerous initiatives in other cities across the country, including Palazzo Barberini in Rome, and prize competitions in many national locations.
With his latest solo exhibition, "creative alleanze," he departs from the genre that saw him depict arboreal nature and the world of natural phenomena in Impressionist terms. The painter, in particular, had become known for his meticulous and vibrant descriptions of subjects in all their forms and in the most diverse types, interpreted with rigorous analysis of their "features," the insertion of environmental landscapes, transposing them into symbolic and psychological meanings and revisiting the tree as an existential reality of man.

In the years following 2004, the abstract and informal form of expression, where the impetuosity of the stroke and the explosion of colors symbolized an inner search aimed at bringing out ancient unconscious emotions, gave way to a sudden, fragmented form of expression of color itself. This gave rise to the Vision series...where color becomes digital in a matrix vision, where the structure is the very structure of the single digit.
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In the late 2014s, Stuttgard reworked his artistic vein into an informal painting technique rich in color, using mixed media such as dripping and partial digital contaminations typical of his previous Vision production, to which he had given particular attention, pigeonholing the color into individual cellular elements uniformly distributed across the surface of the canvas. Now, however, it also takes on a more chaotic and random distribution.

From 2016, after completing one path, a very brief period of experimentation began, where paint was layered directly from the tube onto the canvas, creating dynamic plays of chromatic and material overlaps. This was the prelude to the next form of expression, which would see him employing highly diluted paint splashed onto the surface, giving rise to works such as the floral series executed in action painting. The previous abstract and informal view gives way to a representation that, while comprehensive, retains all the unpredictability of chance, leaving the viewer free to see the imaginary of reality.
Only in 2022, in his ongoing quest to abstract his floral subjects as much as possible, did he begin painting with the fluid action technique, replacing the brush with random accessories—the very containers of the paint—dripping and splashing it in plays of tonal overlap.
During the process, Stuttgard follows chance, developing new compositions, flat and spatial emphases in a purely abstract visual language that captivates the viewer.
With this color and these images, he allows a great deal during the process on the canvas; he is open to instinctive pictorial gestures from start to finish, which spontaneously allow him to develop new ideas.
His new works, even medium and large-scale, take viewers where the artist's imagination should take them. His paintings are painted passions, mastering the extremes between reality and dream, between the tangible and the metaphysical, conveying emotions and an intuitive charm.

EXHIBITIONS AND PERFORMANCES
most significant years 2012-2019

Curator

September 2015-August 2016

In 2015, on the occasion of Expo Milano, he participated with a mini-personal exhibition at the Centrale Elettrica di Trezzo Dadda curated by Dr. Giorgio Grasso and Dr. and art critic Mattea Micello with abstract works from the Digitale vision series, participating in subsequent events on the occasion of impromptu exhibitions in the city of Cesena.

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