Graduated with honors from the Brera Academy of Fine Arts, since 2004 he collaborates with TheBagArtFactory artistic group. In 2007 he joined the TDK Crew, the historic group of Milan murals writers, renowned as one of the strongest and deep-rooted realities in the Italian graffiti writing’s scene.
The artistic and cultural background of Federico Unia is strongly linked to his birthplace: Milan. As he explains, the city is enchanting, intriguing and ravishing, just like a beautiful and shady woman. The wonderful and damned metropolis, confounding and dazed by heterogeneous advertising, gave boost to the outcropping of that peculiar artistic language, kept inside for a long time in a sort of contemplative incubation. His artistic identity stems from the collective experimenting of the pop art and the reflection over disrupting New Dada ideas. Federico draws inspiration from the reinterpretation of poster-art carried out by Nouveau Réalisme’s affichistes -first and foremost Mimmo Rotella-, from Rauschenberg combine-paintings and from Andy Warhol and Roy Lichenstein reworking of popular icons, to end up with a unique modus-operandi, modeled through the street art filter and his creative reuse of artistic languages. The result is a hybrid Urban-Pop creation, which emphasizes his ability of mixing different styles and techniques and expresses an impressive creative insight.
Artist visual identity
The common denominator of Federico works is poster, combined with readily recognizable mass iconography. The young graffiti writer borrows from Pop Art the demystifying irony towards media and consumerist society. He skillfully revisits the advertising iconography in a provoking way, expressing concepts at times biting and cruel, at others sweet and thoughtful, ennobled into mystic ideals. After having experimented different techniques and styles, ranging from collage and photomontage to art casting technique and acrylic painting, the artist has led to his own personal painting technique, characterized by the original use of posters. The poster, applied on canvas or walls, repainted, reworked and transformed, is now taking new shape and new meaning, remodeled into an independent creation in tension between the two and the three dimensional (such as in his experimentations along with the sculptor Emiliano Rubinacci). Moreover, he performed several mural paintings in Milan and other urban settings, which confirm the creative research of this promising artist. The deep knowledge of chemical reactions between contrasting elements together with the fast and sudden paint-spraying, allow him to achieve unusual and astonishing effects, while showing his ability to render concepts through the blur of colors.
Themes in Omer Art
His works grow out of ontological reflections on the human condition: big questions, hopes and troubles, big promises and doubts. These heterogeneous creations reflect the multi-faceted nature of the young artist, who has already gone through different creative periods. The reflection on human evolution: the man is compared to and metamorphosed into a primate. The mystery of life’s origin. The love and hatred that contaminate all generations. The power of politics and religion, which manipulate our minds. The pervasive hypocrisy of advertising and its references. Finally, the debunking of the sacred figure of the Angel while celebrating the angelic female figure at its most sensual.
Federico Unia’s inventive sculptural works seem to come out from a three-dimensional collage that reinterprets Arman and César assemblages in a modern and urban key. Found and street objects, somehow stripped like post-nuclear wreckages, are compressed and reassembled into post-modern creations.
When Federico is asked about the aim of his art, he answered “Above all, some, even little, slight of visual emotion”.
Surely he succeeded!