Giulio iurissevich biography of martin

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A singular artwork, a one-off, gains value because of its rarity. This gaze is essentially an embrace of self-love, liberated from preconceptions and pain, employing the potent energy of the feminine as a catalyst. With the computer, he discovered a talent for digital fashion illustration. Is it the means – handcrafted versus computer generated?

This international success story from a small town called Pordenone, Italy, is completely self-taught, although he says the passion for images and art has always been with him.
Driven by instinct and inspired by the human form, Giulio’s work explores volume, geometry, and color, reducing unnecessary effects, and focusing instead on clean lines and forms.

As a guitar player, he credits his music as a source of inspiration and energy. Passing through the era of ‘The Work of Art in the Age of Mechanical Reproduction’ (Walter Benjamin), we now live in an era of electronic reproduction, an era where everything is considered content and is electronically distributed within the context of globalization.

There is certain aggressiveness and violence within the dark shades of these ‘collages’. Unique and versatile, Giulio is equally at home with fashion, beauty and lifestyle illustrations or a rougher urban street style for applied to anything from magazines, billboards, and toys, to independent music festivals, raves, and concerts.

Giulio’s appeal extends well beyond his native Italy, and especially within The UK, US, Canada, and Germany where his clients include Karim Rashid, Motorola, Virgin, Oxford University Press, Music for Relief, New York City Marathon, Start Mobile, Image Zoo, Shelter, Frezza Inc-Casamania, Thedesignconspiracy UK, Qub Studios, and magazines Elle, Marie Claire, The Source, Vogue, Runner’s World, Vision Magazine (China), and Rivista Ottagono (Italy).

On the other hand, works like those of Giulio Iurissevich are made to be public, they are made for the public to enjoy and contemplate on. Clean, elaborate outlines capture the figure while bright aquarelle-like coloured surface highlight it with a liberating non-finito technique that values the direct expression of emotions instead of the –completely impersonal – stylistic perfection.

There is ambivalence and an internal conflict that tortures Giulio Iurissevich’s heroines, deconstructs their figure but does not distort it. His success is also reflected with his inclusion in several important fashion illustration books, including The Big Book of Fashion by Martin Dawber, and published by Bt Batsford (UK), Text and Image vol 2 pubblicato da AVA- applied visual arts (Svizzera), Enciclopedia dell’arte moderna e contemporanea (Alba Editrice) (ITaly), Communication Arts the Annual (UK), Luerzer’s Archive Best 200 Illustrators Worldwide (AU), Talentos de la illustracion de moda (Spain).

There may be an underlying symbolic layer there, but that is not central in the interpretation of the works.

His success is also reflected with his inclusion in several important fashion illustration books, including The Big Book of Fashion by Martin Dawber, and published by Bt Batsford (UK), Text and Image vol 2 pubblicato da AVA- applied visual arts (Svizzera), Enciclopedia dell’arte moderna e contemporanea (Alba Editrice) (ITaly), Communication Arts the Annual (UK), Luerzer’s Archive Best 200 Illustrators Worldwide (AU), Talentos de la illustracion de moda (Spain).

Giulio IurissevichMixed Media Paintings