Astoroth's War is a melange of drawings, pen, ink, pencil and sometimes multimedia, amalgamated to tell the story of the East- In the Artist's imagination. Some misty forests in the cold of northern China, oil paintings of Venetian travellers meeting the Khan, battle scenes if Indian war machines where elephants were used as tanks and instruments of war, platforms for archers and safe abode during nights, avoiding attack. Astoroth's War also has a tender side- A love story of two warring factions and a marriage which consolidates east and west- An analogy for the geographical east and west cultures which are divided to this day
About Orientalism in the work of Andrea Sartori
The works representing the current body of work are set up as a reflection of cultural identity of a microcosm of the subject in the city of which the artist is currently resident. The ideology and modus operandi of local peoples of Muslim origin is an extension of their heritage. Different viewpoints are hereby expressed complementing each other within the context of the whole installation. The Muslim global collective, is a culture of contrasts.
Cosmopolitanism is actively discouraged, yet it is a widespread way of doing which outlines the diversity and homogenous quality within a global context. This developed as a national political project which outlines the cosmopolitan hues of a multicultural society.
Egyptians, Moroccans, Tunisians, Algerians, Afghans, Iranis, Iraqis, Syrians and even Israelis coexist in these tableaux and differ in the heart of a heterogeneous society, which is what these diverse cultures become in these imaginary spaces.
Spain, Jordan, Lebanon, Turkey, Oman, Kuwait Saudi Arabia, and India are the backdrop to Sartori’s work.
Sartori explores these themes with a multicolour realist reduction and decorative ethos, extrapolating the same themes in an expressive style with vibrant colour.
Incisive realism in the works alludes to the Muslim stereotype. Sartori works with the typology of the rural communities and the main transmission focus of lifestyle, rather than a commonality of Spirit or religious habits. The global migratory process from east to west in search of better working opportunities, leads Sartori to depict this view of suburban areas where the combination of different popular rites and classical themes reveals the existence of a religious syncretism
Sartori’s objects ironically refer to the effects of consumerism’s mass media and art as entertainment, using elements taken from classical allegory, so as to point out certain social habits such as passion for sport, entertainment types and worship. The romance of landscapes and passion pf colour and light, brings a certain allure to the modern application pf classical subjects.
We look for hints which can work as possible anchors in the composition of subsequent migratory currents, in which discourses interact with one another sketching the features which define the profile of those of us who live scattered lives all over the globe and thus bring the unity to the planet through not their religion but rather our humanity and the way in which our humanity and the way in which our humanity is expressed through our lifestyles.
The romance of foreign cultures further reduces the physical distances of peoples; the ideology of a better life elsewhere further binds the human experiential as a source of ennui, which encourages the cyclical nature of migratory patterns.