Antonino

Site temporaire

Ci-dessous, quelques tableaux en format réduit

 

Le sbire

2001, 85 x 70 cm, Acrylique sur toile

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Mariée sur la passerelle

2001, 50 x 70 cm, Acrylique sur toile

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Jardin sur l’eau

2001, 100 x 90 cm, Acrylique sur toile

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Le Padre moderne

2001, 80 x 80 cm, Acrylique sur toile

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Dévastés de la sécheresse pleurent la mort du fils

2001, 105 x 80 cm, Acrylique sur toile

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Transformation d’une vierge en femme entre quatre murs et 51 fenêtres

2001, 100 x 85 cm, Acrylique sur toile

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Pilliers d'une institution

2001, 150 x 80 cm, Acrylique sur toile

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Jorge Amado entre le ciel et les étoiles

2001, 88 x 68 cm, Acrylique sur toile

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Catarina Paraguaçu

2001, 162 x 100 cm, Acrylique sur toile

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Le Chasseur

2001, 107 x 72 cm, Acrylique sur toile

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Dona Babe

2001, 70 x 50 cm, Acrylique sur toile

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Tentative de clonage humain

2001, 115 x 85 cm, Acrylique sur toile

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Artistes de rue sur la chaussée de la célébrité

2002, 120 x 205 cm, Acrylique sur toile

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Cupidon

2002, 105 x 67 cm, Acrylique sur toile

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L’Ange au portail du ciel

2002, 100 x 70 cm, Acrylique sur toile

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Musicien dans le parc

2002, 105 x 74 cm, Acrylique sur toile

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Le Crucifié

2002, 168 x 108 cm, Acrylique sur toile

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Chevalier au faucon

2002, 122 x 152 cm, Acrylique sur toile

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Attentat aux Twin Towers

2002, 120 x 155 cm, Acrylique sur toile

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Femme aux champs

2002, 95 x 72 cm, Acrylique sur toile

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Le Dernier oiseau-loup à ventre rose de la forêt atlantique de Bahia

2002, 105 x 72 cm, Acrylique sur toile

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Le Pêcheur du métropole et ses bombes déstructrices

2002, 155 x 103 cm, Acrylique sur toile

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Simone et Lalado

2002, 125 x 80 cm, Acrylique sur toile

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Marin sur patins

2002, 105 x 80 cm, Acrylique sur toile

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Bohème attablé dans un bar

2002, 105 x 75 cm, Acrylique sur toile

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Voyage sur le fleuve São Francisco

2003, 205 x 149 cm, Acrylique sur toile

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L'Ange au balançoire

2003, 160 x 140 cm, Acrylique sur toile

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Rêve d'enfance

2003, 160 x 80 cm, Acrylique sur toile

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Pegasus, prisonnier dans le Jardin d’Eden

2003, 135 x 162 cm, Acrylique sur toile

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Le Roi des océans

2003, 140 x 200 cm, Acrylique sur toile

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L’Épouvantail qui veut connaître le monde

2003, 160 x 78 cm, Acrylique sur toile

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Modèle baiano en train d'être photographié

2003, 105 x 70 cm, Acrylique sur toile

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Femme jouant au parc

2003, 104 x 72 cm, Acrylique sur toile

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Chapeau de clown

2003, 90 x 66 cm, Acrylique sur toile

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Théâtre de formes animées dans la ville de la Haie

2003, 125 x 157 cm, Acrylique sur toile

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Simon, le guerrier voyageur

2003, 104 x 75 cm, Acrylique sur toile

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Enragées de la prière à la Fête de Nossa Senhora da Boa Morte

2003, 75 x 99 cm, Acrylique sur toile

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Cavalier de l'Apocalypse - Ouverture du 2ème Sceau

2003, 179 x 132 cm, Acrylique sur toile

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Exode sans moyens

2004, 192 x 135 cm, Acrylique sur toile

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Homme de la planète rouge

2004, 120 x 90 cm, Acrylique sur toile

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Sans-terre, descendant des communautés d'esclaves fugitifs, les quilombos

2004, 117 x 76 cm, Acrylique sur toile

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Fou du carnaval quitte son minou saltimbanque

2004, 102 x 68 cm, Acrylique sur toile

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Le Garçon

2004, 115 x 74 cm, Acrylique sur toile

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Enfants jouant

2004, 119 x 83 cm, Acrylique sur toile

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Colombe

2004, 145 x 89 cm, Acrylique sur toile

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Dévotion religieuse

2004, 199 x 147 cm, Acrylique sur toile

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Soldat héros

2004, 145 x 89 cm, Acrylique sur toile

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Anniversaire du musicien

2004, 104 x 66 cm, Acrylique sur toile

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Bumba meu boi

2004, 108 x 119 cm, Acrylique sur toile

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Kari (Kari)           

“Reef, rocky islet, shelf, shoal” they say. Warning! This is going to be a long one, so probably best to skip... Judging by the various ‑kari placenames on coastlines across Estonia, islands and all, the word reeks of ambiguity. Let’s start with Tallinn proper. Estonia has about 3793 km of coastline, Tallinn’s share of which is about 70. The coastline stretches from Tiskre to Merivälja, along which are kilometers of boulders, some massive, others in groups, many in blockfields, and plenty sitting on their own, minding their own business, on land or in sea. Moving west to east: first, we have the Kakumäe poolsaar or peninsula, with Liivakari and Kivikari both of which look more like sandbanks than felsenmeers (but see Paljassaare, re the underlying tectonic plate rising at a rate of about 2.4 mm / year, or 24 cm / century, in which case the name could refer to a state 100 or more years ago); then little happens until we get to Kopli neem (cape or naze), where there’s an Allikari but it’s really not clear as to what it actually designates, followed by Väike and Suur Haak, two minor blobs protruding into the sea and where the best translation of haak (lit. hook) might be a “very obtuse-angled protusion seaward from a generally straightish beach” but corresponds very well to what, if we’re patient enough, we’ll soon see in Naissaar.

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Further out to sea from Suur Haak there is what seems to be a felsenmeer: Suurehagi kari, then things quieten down again (other than the two Paljassaare forks, Suur Paljassaare poolsaar and Väike Paljassaare poolsaar (large and small Paljassaare peninsulae) between which lie Saarevahe Lõugas (lit. between-the-islands bight, where ‘island’ is surely metonymic and/or just plain lazy for ‘peninsula’, but then again they are peninsulas on a peninsula...) and Saarevahe Haak, another bump in the road... Moving down the Paljassaare peninsula to the shining city on a limestone bank, this is where it starts getting interesting, we find Pikakari and anyone looking at it cannot but have an Aha! moment. First of all, it’s relatively long (see Pikk), and secondly it looks as if someone added a few tons of riprap onto the pre-existing string of boulders for stability and poured cement all the way out to sea and called it Katariina kai or quay.

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This is thus the first Tallinn inkling of one key property of a kari: an extension of the coastline into the sea, often next to or either side of a bay and whose shape ranges from this, a nigh-on parallel-sided spit to an almost imperceptible pimple of, at most, 160°. Next we find what looks like three shoals called Oiusaar (not clear, possibly ‘hole-in-the-ice’), Kõuesaar (thunder) and Ilosaar (beauty), the ‑saar ending indicates that they are islands. Yes, underwater islands. But next to a shipping lane or port that’s as good as... We can ignore the Central Tallinn coastline which, from a boulder nomenclature point of view, is extremely disappointing, and that’s it! We’ve done Tallinn. All that waffle for just five karis. Never mind, we carry on undaunted. Nearby locations will, I’m sure, provide the excitement we seek... On the other side of Pirita, on the west of Rohuneeme there are, in order, Rivikari (‘line’? kari, poss. a shoal), Lõunatkari (‘south’ kari with ‘t’, poss. typo) and Põhjakari (‘north’ kari, these 2 may be single erratics, felsenmeers or shoals), Mikumadal (short for Michael’s lowland? poss. a shoal and I include non-kari names when the geographical feature could, according to reason, be designated by kari), Porda kari (other than a computer port, the only word that starts with pord- is a dated term for prostitute, read into that what you will,

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but this may well be a local adaptation of international sailor-speak, poss. a felsenmeer), Virukari (see Viru, poss. ditto, vaguely), Pihlakakari (see Pihlaka, with a Rohuneeme in front to differentiate it from the Pihlakakari 500 m NW on Kräsuli) and lastly, before I get to Russia, Kabelikari (chapel or cemetery) on the E of Rohuneeme which could be a point, shoal, felsenmeer or who knows what, and Kure kari, both of the moderate protuberance species. Before we leave the mainland for the unbecoconutted isles of the Baltic, we take a quick look at the Suurupi poolsaar, in Harku maakond (county) with its fair suburban names of Oktett, Konstruktor, and Kratt-3 and Kratt-4 (Kratt-1 was already taken by Haabersti, and Kratt on its own by Pirita, and is an interesting name in its own right: this vaguely golemesque creature was created by its owner out of wisps of hay, sauna whisks or random bits ’n bobs and brought to life by a contract with the devil and payment of 3 drops of blood [cheats used blackcurrant]; the creature’s main task was to nick things for the owner, grain, loose change, etc., zipping around on its own internal combustion system [but see November, film by Rainer Sarnet after book by Andrus Kivirähk], the trouble was, and there always is, that the Kratt had to keep on doing his master’s bidding or would start doing things against him, so it would be asked to do impossible tasks such as explain the Estonian saav kääne [translative case] to a duck and, inevitably failing, would burst into flames and self-destruct [see Komeedi], the same term is used as modern metaphor; essentially, if you have a problem, Kratt will resolve it and today’s Estonians define it as “an artificial intelligence system based on a software algorithm that is autonomous, learnable, and performs traditional human actions” [en.kratid.ee]; fine, but why not call it a pixelpixie?