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I laid down the earth months ago and left it to cure — that warm ochre built up with the knife, gritty and worked. When I came back, I brushed the Prussian night above it, letting the two meet on a single raised impasto line that catches light as you move. I placed the moon low and off-centre, almost resting on the land. This is one of my larger miniatures, sitting right at the edge of the format I've worked in since 2012. Knife and brush together… — each doing what the other can't. Comes in a floating frame, and the art is slightly raised from the background in glass.
Though I am creating art, I am evoking an emotion. This has guided fifteen years of practice. Bob's work prioritises the felt experience over representation, capturing atmospheric depth that moves between tranquillity, longing, and awe. You do not simply look at these paintings. You enter them. Working with a knife, his self-taught mastery of Impasto produces surfaces that are sculpturesque, tactile, and alive. Expansive paintings and intimate miniatures share the same driving force, a sense of place that is as much interior as it is geographical. Landscapes and seascapes become the language. Emotion is what they say. In his seventh decade, Venafro has arrived at Ipseity, absolute selfhood, hard-earned and uncompromising. Drawing from a life in finance before the knife became his primary language, he brings something rare to the canvas. The story he is painting is his emotion. And yours, to discover. I'm discontinuing my signature on the front of the work. www.venafrobob.com