Tomaso Albertini - Painter
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Tomaso Albertini – biografia

Artist Tomaso Albertini was born in Milan, Italy (1984) where he attended the School of Comics in Milan. He lives and works in New York City.

His first professional work of large format paintings concentrated on a serious investigation of color. Here he broke free from the confines of illustration, the subject emphasized in his academic training, and began to create emotional projections that served as the foundation of his further development. Guided by instinct, he started mixing color on flat surfaces using abstract forms.

After this initial period, there was a big change in his creative path. Albertini began to experiment with new materials. He wanted the work to be more physical - more direct. He introduced to his audience the use of burned, melted plastic into the paintings. He has described the process as a defacement of the figure in an effort to dig into the life of the human form. One senses the physical presence of form conveyed by a willful act of transference.

Albertini than started to create three-dimensional art using cardboard. It allowed him to accomplish the figure as if it were a sculpture and paint on it as if it were a canvas. This technique introduced dynamics approaching sculpture. It is, in fact, a hybrid manifestation of his innermost visions. 

Albertini has worked with Fat Free Art and Sotheby’s, among other relevant galleries and auction houses and has been featured on manifold publications including D/railed Mag and The Guardian. 


The Dual Path of Tomaso Albertini

Di Deianira Tolema


There was a body called, “enthelecheia,” perhaps the body of a cadaver, a body that is like the intermittent shadow of its own reflection. And there was the other body called, “energheia,” the body known for projecting itself outward. The two bodies are like one, and no matter how different from one another, they are like two sides of the same piece of paper. The direction of our eyes can privilege one of the two sides, but if we were forced in a certain direction, eyes, object, and reflection would become one.

“The Two Bodies of God” from the book, “Six Genealogies of the Western Body” by Federico Leoni


Tomaso Albertini’s work is suspended between abstraction and figuration where it assembles thought into aesthetic form.  Here, formal elements, and the human form combine, producing a sort of artifact. In the contemporary world fraught with hyper imagery our nuanced sight employs a dimmer switch. And so, it is with Albertini’s artifacts. This artifact-ness attracts us, and its differentiation flips another switch controlling an emotional response. The result is a subtle, but noteworthy, transcendency that serves as a whispered catalyst rather than a declaration. 

Albertini’s recent work has a similar duality, but it comes from touch. Touch is essential to the spiritual content of art. The hand of the artist is reminiscent of distant, earthly realities that only exist as memories. The artist’s manipulation of matter itself, juxtaposed with automatism, inevitably leads to the ravished formalism such as that of Reggiani or Mario De Donà, both of whom were acquainted with the intimate geometries of the cosmos. Albertini’s figures, partly influenced by the artist’s Italian roots, can be compared to the Calvinian myth of Adam Mortalis’ dual, fragmented identity.  The dialectic oppositions that constantly generate internal tension within Albertini’s work, however, do not explicitly involve religion. His tactile three-dimensional cardboard assemblages, thickly painted with violent brushstrokes appeal directly to the viewer’s nervous system.

Pastel colors prevail in Albertini’s latest work. The soulful production of his earlier output, and the anxiety of an uncertain future, has been replaced by more relatable, universal subjects such as popular book and movie characters. In the wake of his expressionist body of work, Albertini takes on popular icons such as John Lennon, La Gioconda, and Van Gogh. With a subtle, neoteric game of light and shadow and a hint of animism the vision of the artist takes over. The result: a newfangled realism of image deconstruction. The process ends by tearing apart a combination of visual stimuli so complex that even its anamorphic qualities pale.


Tomaso Albertini is an artist to watch as he continues his trajectory in the New York art world. His work is collected internationally.