World Premier Event
Private Collector's Auction
A House of Silvestri Exclusive Auction by Invitation Only
GAZA
A Contemporary RaZ/Art Masterpiece and Spiritual Activism
*
AUCTION INFO
Invitations are Open.
Opening October 21st at 9am
Closing Saturday, October 26th at 9pm EST/6pm PST
Auction Held HOS, Maria Jameson CEO and Stephanie Smith, Smith Advisory
Viewing October 21st to October 26th 6pm EST.
FINAL 24 Hours - Live Phone Auction
Closing - Final 24-Hours Auction Phone Number#
AUCTION BID CONTACT
Auction Email for Confidential Bids Only
AUCTION RESULTS AND LIVE REPORTS*
Auction Top Offer as of ************ EST: $000
* auction results will be reported refresh daily at 7pm est.
*
"GAZA"
A PRIVATE COLLECTOR'S AUCTION 2024
"GAZA"
Collection: RaZ/Art
Title: “GAZA”
Size: 17w x 25h x 6d inches
Medium: Razor Blades, Cutting, Objects, Pine Cone, High Precision Surgical Scalpels, Gold Special
Violet Pigments, Archi-Assembly - Multimedia on Custom Frame
Multimedia Artwork on Boards
Year: Completed on October 20th 2024
Location: Santa Fe Studios
GAZA - My Personal Story
Thomas Silvestri's newest masterpiece "Gaza" is a powerful work of visual protest and activism, not just because it transcends mere visual appeal to make a profound statement about the suffering and atrocities associated with war, but as a layered and nuanced social commentary: Silvestri first tackles the symbolism of Life Amidst Destruction; The pinecone in the center, symbolizing life, growth, and regeneration, stands as a defiant and enduring image amidst a chaotic, violent backdrop. In the context of war, the pinecone’s survival among splashes of red (evoking blood) and abstract destruction becomes a metaphor for the resilience of civilians who continue to endure despite suffering and violence. It protests against the dehumanization caused by war, emphasizing the sanctity of life in a region often reduced to statistics and media coverage.
He then explores “Chaos and Conflict” -through Abstraction. The abstract elements in "Gaza"—chaotic lines, erratic patterns, and scattered red marks—embody the disorder, confusion, and unpredictability of war. These features serve as a non-verbal protest against the destabilizing impacts of conflict, from the dislocation of communities to the physical destruction of cities. Rather than depicting war in a literal sense, Silvestri’s abstract approach amplifies the emotional intensity and visceral experience of suffering. The color palette is a deliberate and impactful choice in this piece. Gold often symbolizes divinity, wealth, or potential, while red signifies blood, violence, and loss. The interplay of these colors suggests how war tarnishes human potential, symbolized by Gaza’s long history of cultural and political significance. The red splashes scattered across the canvas serve as a haunting reminder of the bloodshed and suffering that civilians experience, turning the artwork into an unapologetic protest against the violence inflicted upon innocent lives.
By naming the piece "Gaza," Silvestri situates the abstract visuals within a specific and ongoing humanitarian crisis. Gaza has become a symbol of enduring suffering, conflict, and geopolitical strife. The title aligns the artwork with global conversations about war, human rights violations, and the plight of displaced peoples. It implicitly protests against the failure of international bodies to address the ongoing atrocities, making a statement that extends beyond the canvas into the realms of activism and advocacy.
Silvestri creates his art to reach and change humanity, in this case the amplification of Civilian Voices. The artwork is a form of visual activism because it humanizes the victims of war, amplifying the voices of those who often go unheard amid political rhetoric. It shifts focus from abstract geopolitics to the lived experiences of civilians. The piece serves as a call to action, asking the viewer to empathize with those trapped in conflict zones and to recognize their enduring humanity in the face of destruction.
By using artistic abstraction rather than literal depictions of war, Silvestri engages a wider audience, drawing people into a deeper emotional response. This approach elevates the artwork into a form of peaceful protest, communicating that the true cost of war is the untold suffering, loss, and violence that continue to be inflicted on civilians. In this way, "Gaza" becomes not just an artwork, but a protest against war itself—a statement that the atrocities of conflict must end, and that humanity must stand against suffering wherever it occurs.
The piece doesn't just evoke sympathy; it encourages reflection and a response. By focusing on the human aspects of conflict (life, destruction, survival), the work confronts viewers with the harsh realities of war, compelling them to consider their own position and response to such atrocities. It becomes an act of protest through its ability to provoke thought and stir action in those who engage with it.
In the same way Picassos Guernica was not just a painting, Silvestri’s "Gaza" is not merely a piece of art; it is a potent tool of activism and protest. Its layers of symbolism, its abstract representation of chaos and suffering, and its strong socio-political context all combine to make a powerful statement about the atrocities of war and the enduring strength of the human spirit. It stands as a poignant reminder of the cost of conflict and a rallying cry for peace, empathy, and justice.
~Tomasso Silvestri
Thomas Silvestri's newest masterpiece "Gaza" is a powerful work of visual protest and activism, not just because it transcends mere visual appeal to make a profound statement about the suffering and atrocities associated with war, but as a layered and nuanced social commentary: Silvestri first tackles the symbolism of Life Amidst Destruction; The pinecone in the center, symbolizing life, growth, and regeneration, stands as a defiant and enduring image amidst a chaotic, violent backdrop. In the context of war, the pinecone’s survival among splashes of red (evoking blood) and abstract destruction becomes a metaphor for the resilience of civilians who continue to endure despite suffering and violence. It protests against the dehumanization caused by war, emphasizing the sanctity of life in a region often reduced to statistics and media coverage.
He then explores “Chaos and Conflict” -through Abstraction. The abstract elements in "Gaza"—chaotic lines, erratic patterns, and scattered red marks—embody the disorder, confusion, and unpredictability of war. These features serve as a non-verbal protest against the destabilizing impacts of conflict, from the dislocation of communities to the physical destruction of cities. Rather than depicting war in a literal sense, Silvestri’s abstract approach amplifies the emotional intensity and visceral experience of suffering. The color palette is a deliberate and impactful choice in this piece. Gold often symbolizes divinity, wealth, or potential, while red signifies blood, violence, and loss. The interplay of these colors suggests how war tarnishes human potential, symbolized by Gaza’s long history of cultural and political significance. The red splashes scattered across the canvas serve as a haunting reminder of the bloodshed and suffering that civilians experience, turning the artwork into an unapologetic protest against the violence inflicted upon innocent lives.
By naming the piece "Gaza," Silvestri situates the abstract visuals within a specific and ongoing humanitarian crisis. Gaza has become a symbol of enduring suffering, conflict, and geopolitical strife. The title aligns the artwork with global conversations about war, human rights violations, and the plight of displaced peoples. It implicitly protests against the failure of international bodies to address the ongoing atrocities, making a statement that extends beyond the canvas into the realms of activism and advocacy.
Silvestri creates his art to reach and change humanity, in this case the amplification of Civilian Voices. The artwork is a form of visual activism because it humanizes the victims of war, amplifying the voices of those who often go unheard amid political rhetoric. It shifts focus from abstract geopolitics to the lived experiences of civilians. The piece serves as a call to action, asking the viewer to empathize with those trapped in conflict zones and to recognize their enduring humanity in the face of destruction.
By using artistic abstraction rather than literal depictions of war, Silvestri engages a wider audience, drawing people into a deeper emotional response. This approach elevates the artwork into a form of peaceful protest, communicating that the true cost of war is the untold suffering, loss, and violence that continue to be inflicted on civilians. In this way, "Gaza" becomes not just an artwork, but a protest against war itself—a statement that the atrocities of conflict must end, and that humanity must stand against suffering wherever it occurs.
The piece doesn't just evoke sympathy; it encourages reflection and a response. By focusing on the human aspects of conflict (life, destruction, survival), the work confronts viewers with the harsh realities of war, compelling them to consider their own position and response to such atrocities. It becomes an act of protest through its ability to provoke thought and stir action in those who engage with it.
In the same way Picassos Guernica was not just a painting, Silvestri’s "Gaza" is not merely a piece of art; it is a potent tool of activism and protest. Its layers of symbolism, its abstract representation of chaos and suffering, and its strong socio-political context all combine to make a powerful statement about the atrocities of war and the enduring strength of the human spirit. It stands as a poignant reminder of the cost of conflict and a rallying cry for peace, empathy, and justice.
~Tomasso Silvestri
GAZA - IMAGE LIBRARY
