The work of Cristiano Pintaldi reflects on the contemporary collective imagination of the mass media. Interpreter and child of his time, Pintaldi first borrowed from television and, in recent years from the web, the iconic representation of mankind and the world around us, by choosing for his works television actors, politicians and events that draw global media coverage such as the 2001 terrorist attack on the Twin Towers. The artist reproduces a panorama of facts, faces and places, made famous throughout the world thanks to the “digital landscape” and the new means of communication, giving up technological aids and resorting to a
meticulous manual action. As with the monitor, which on a closer look reveals a series of colored dots juxtaposed to each other, Pintaldi makes his works with painted pixels, little square rectangles of red, green and blue painted on a black canvas. The artist
undertakes an operation that is unique and singular in its unrepeatable nature, openly opposed to dehumanization, to stereotyping and the speed of technological language. In "Fulmine 2" Pintaldi takes the notion of the ephemeral and transitory to the extreme by reproducing a thunderbolt in the exact moment of its maximum brightness, a recurring theme in his work which he has used frequently from the mid-1990s.