My adopted city of Melbourne, where I have lived for over fifty years, is evolving not only demographically but also physically. New buildings are erected; old buildings are demolished; some are iconic and have a story to tell. That's where I come in to show that story and give some sense to that landscape. I work from sketches done in situ, photographs, and preliminary studies. I research the significance of the buildings and how they are placed in their immediate surroundings; and then I place a solitary figure to give a sense of place. These figures are neither bitter nor ironic. Instead they are comfortable in their place. The city of Melbourne will be my inspiration for many years to come.
works in a variety of media, large graphite drawings, oil painting s and bronze
sculpture. His images are skillfully rendered, elaborately staged works that
use quiet drama, subtle expression as well as visceral symbolism as a conduit
for both personal and universal narratives.
By emphasizing aesthetics, he wants to amplify the astonishment of the
spectator, he creates compositions or settings that generate poetic images
which ;balance on the edge of recognition
and the subconscious. The images are an invitation into a story. Much of the
symbolism derives from a synthesis of personal experience. Over the years he
has developed a vocabulary of potent signs, each one iconic in its connection
with humanity. Flowers, branches, boats, nests, kangaroos and other curious
creatures populate his work. While his symbols imply tangible things he urges
us to interpret them through our own experiences and mixed bag of memories. A
branch may represent life’s forked and tenuous path yet it may also evoke
metaphors for growth and energy, while the flowers can be read as repositories
for feminine power, fertility and life’s transient beauty. The man in so many
of his images represents himself, his sons and every man. His works appear as dreamlike
images in which fiction and reality meet, allegories merge, meanings shift and
the present fuses. Balletta's art inveigles us into its world through optimism
for life journey. It makes us want to enter into the artists dialogue and
decipher its allegorical tales.
I am interested in the uniqueness of interpreted reality where the human form or the environment is the context and the catalyst for response. I choose to use, interpret and manipulate the human form as subject matter because I want to acknowledge that the Human Form is fundamental in art, and that abstraction is meaningless without an implied Human Form. I find that abstraction, perspective, distortion etc, fail when they do not act as devices for reaching an expressive climax and I understand that abstraction cannot be an end in itself because it cannot exist out of a defined context.
The artistic process is the distillation of conscious and unconscious experience through the filter of the body which is in turn is embedded in a transient reality.
The questions occur. How to paint nothing? What does it mean to paint nothing? What does it mean to paint a void?
I let myself go, apply marks, streaks, splashes of colors onto the canvas, to make them resonate with all the intensity that can be imagined.
"For me, art is not recreating reality; it is about creating illusion regarding chosen subject matter with line, colour, and form with any given space on a two- dimensional surface. As is to say, nature is tangible. Size and shape of the canvas is very important to me. And what's also important is how the size and shape of the canvas will occupy the space as a finished product of my imagination, be that in a private home, gallery, or commercial building. The painting must possess aesthetic and spiritual attributes as well as intellectual and technical properties.