"Does a picture necessarily have to be square?"  


Mr. Yeah's style is defined by the artist himself as “Fluidism”. It comes from the anti-conformist idea, derived from the boredom of always observing canvases relegated to a standard geometric condition, perfect and clean like the square and the rectangle, encountering curved lines in exceptional cases of circles and ovals.


The artist therefore focuses on the study of the support , seeking originality.

He decides that his works “could not be enclosed within an aseptic canvas” but that the support itself should have been a work of art, or at least, contribute to and join it.


The persevering study and the search for uniqueness lead him to learn that the soft and fluid shapes could not have been completely free and dictated by the will of the design, but had to adapt and conform to the environment itself .


To do this, Andrea analyzes the living spaces that generally collect and preserve works of art. The artist therefore thinks about flights of stairs, doors and electric switches, designing ideas that are able to marry with the inclinations present in the various environments, translating and personalizing them for every need. The supports are therefore classified in the middle between the artistic work and that of craftsmanship: they do not follow a predefined pattern but are modeled to accompany the image represented on them .


They are fluid, soft, flowing. They welcome the works of Mr. Yeah and join them as one. The term Fluidism, in fact, is not only linked to the support but also the subjects represented, conceived and created simultaneously with the realization of the table. The works seem to come to life and acquire a fourth dimension, entering into a relationship with the space. An example is the work entitled "Climate Change" which presents a "flowing" support that recalls the Surrealist style and in particular the soft clocks present in the work " The persistence of memory " by Salvador Dalì .


Support and subject go hand in hand. The wooden board seems to melt as well as the subject, interpreting in a direct and unequivocal way the theme of the melting of the ice, due to the climate change that the world is facing.


From an iconographic point of view, " Climate Change" differs from the previous ones. The typical subjects of Mr. Yeah are women depicted naked, covered with flowers and with soft bodies, reminiscent of the works of the Colombian artist Fernando Botero .


The backgrounds are flat , both in the subjects and in the backgrounds, recalling a graphic setting deriving from his background as a professional tattoo artist. The last immediate historical reference, also aided by the flat surface and the uniform layers of color, is the one linked to Japanese art and culture , which immediately stands out for its simplicity, essentialism and decorative refinement. Particularly evident are the flowers used as ornaments, which dot the paintings as in a fairytale rain.


Emblematic are the works entitled " Lunar Phases I", " FLUIDA ", " Obstination " and " Floral Orgy ".

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Fluida , acrylic on canvas with wooden support, 180x210 cm

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Floral orgy , acrylic on canvas with wooden support, 200x100 cm 

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Phases of the Moon, acrylic on canvas with wooden support, 90x235cm 

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Obstination , acrylic on canvas with wooden support, 217x119 cm 

Climate Change 


Stylistically, the Surrealist contamination that the artist undergoes is evident: the shape of the support and the resulting "soft" effect, recall the work "The persistence of memory" by Salvador Dalì, while a further typical element of the avant-garde current French, present in "Climate Change", are precisely the clouds. Present above all in the works of René Magritte, they help to place the scene in the universe of dreams and therefore in an imaginary, surreal setting. From a chromatic point of view, the artist chooses a limited palette of colors, composed exclusively of white and black, blue and yellow. The colors combine to create a perfect arctic atmosphere in which the main subject is a glacier, but whose protagonist is undoubtedly the act of melting, which completely captures the attention and conveys the observer's gaze towards the center of the work. and then downwards, following the trend of the support. Visually the work is divided horizontally into two parts: the upper part lighter and more serene, an apparent tranquility, while the lower one is darker and leads the viewers in depth. Getting them to go further, to the root of the problem.

“Climate Change” is one of the most recent works by the young Italian artist Mr. Yeah, born Andrea Cartabia. It is part of his “fluidist” production, a style coined and developed by the artist himself. What makes this work emblematic is the perfect union between the subject and the support: the artist creates wooden supports made by hand through the use of the hacksaw and the milling machine. In this case, the shape it takes creates a direct impact with any user. The effect is that of melting, of the canvas as representative ice, as if a traditional, rectangular canvas is melting.

From a semiotic point of view, the work conveys an important message, almost of protest but at the same time informative. The melting of glaciers is a widely discussed and at the same time “outdated”, almost forgotten theme. With this work Mr. Yeah wants to remind viewers that it is important to remember and understand what the planet is facing and what this phenomenon entails. Due to CO2 emissions, the ice is disappearing and temperatures are rising; with the prospect of the disappearance of many glaciers on the horizon, which would have, as a consequence, very important negative implications for the global climate. 

"Climate Change" is a unique work of its kind that embodies innovation and artistic complexity, a stylistic coherence and, last but not least, a social and awareness message with an immediate impact.


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