Saul Zanolari was born on September 18th 1977 in Mendrisio – Switzerland.
Since he was a child he has been intrigued by art and its forms of expression, above all painting.
He’s always been convinced that everything can be said and denied. What really makes the difference is the way to present something, its aesthetic aspect.
However, he’s always been more attracted by the content than by the surface of things.
That’s why he’s never attended a school of art but he graduated in Philosophy in 2004, specifically in History of Classic Rhetoric.
He switched his interest from traditional painting to digital painting in 2005.
In the same year he started to exhibit his works in galleries all around the world.
Saul Zanolari reinvents common people, celebrities and pop icons to investigate the growth of human being. One of his latest project is a digital fresco about the Sistine Chapel – an accurate reproduction of Michelangelo’s painting but without religious and censorious aspects towards nudity, where Adam and Eve show their animal nature.
The work of Saul Zanolari (b.1977) seeks to treat and render the essential structures of life tangible through a unique process of composition (which incorporates traditional painting skills with digital editing) that he deploys in the production of his high finish pieces. In line with orthodox post-structuralist thought, Saul believes that what is expressed in his work cannot be done adequately through the medium of language; being fundamental in nature his themes cannot be fully realized, but rather indicated through metaphor or image, in the manner of the finger pointing at the moon. Saul’s work reflects a twisted and sinister cartoon version of the world in which we live. His portraits are a fusion of fashion clips, graphic drawing and pop art, representing unusual subjects such as internationally recognizable Drag Queens, Porcelain Dolls or Fashion Icons– his oeuvre is a surreal, two-dimensional wax museum made up of paintings. From Madonna to Anna Wintour and Amanda Le Pore, no one is spared from Saul’s keen eye for the crack-ups and fault lines in the face of contemporary reality.