Salvatore Alessi is a painter, born on October 6, 1977 in Sicily.  His childhood was a little eventful, with his main interests in the history of art and cinema. Since he was a child, he has loved the altarpieces of the great masters of European painting and the great American films of the 70s. These great passions developed in him a strong empathy towards man in all his facets.

The career of Salvatore Alessi began in Rome with the prestigious gallery "Il Polittico," directed by Arnaldo Romani Brizzi and Massimo Caggiano.  He was invited to a series of prestigious exhibitions that made him known on the national scene. In particular, an exhibition at home- Italy on the occasion of the World Athletics Championships in Berlin.  He was also invited to several international awards. He continued his career abroad, particularly in the United States and France, respectively with the American gallery "RJD GALLERY" where he held several exhibitions and at the gallery "Theodora galleries" of Paris that dedicated his first solo show in France.

Salvatore Alessi’s art depicts that truth and that negation to such truth that human beings engage in, whether consciously or not.  Standing before his art, one is faced with the realization that in the same manner we grow, evolve and develop, we also have our moments of spiraling down and simply rotting.  His works of art allows us to see life in a manner where we suddenly comprehend that physicality is an illusion because what remains is all within.  The divinity within expands beyond our own reach encompassing more than what our minds can grasp, and that is where the secret lies.  The fine line between what is and what isn’t, the apparent and the mystical, the yes and the no, what is expected and what is really there -that fine line that becomes blurred with time and we choose if such perspective is actually what we want.    

Q. What role does the artist have in society?  

A. From my point of view, the artist today more than ever, must be the depository of the culture of the past, renewing it and making it communicate with the contemporary. It must instill energy, an overpowering energy. He must tell to make sure that man can "read." All this today seems to be overshadowed, but in my opinion, represents a new avant-garde.

Q. What’s your best childhood memory?  

A. If I had to investigate which is my best childhood memory, I would say that it concerns painting and its smell. As a child, I used to go to museums with great excitement and the excitement of being able to smell the life of every artist I loved. Because I was and have always been fascinated by painting as a repository of time and the places where it was performed. Visiting the museums, I said to myself "that is the smell that the masters left and breathed."

Q. Do you remember the first art you made? What was it and how old were you?

A. I remember perfectly I was 6 or 7 years old and they were copies of great masters of the 600 made in pastel.

Q. How and when did you first become seriously interested in art?
  At a professional level at 30, working with the "Il Polittico" gallery in Rome, but my interest in art has always been serious and visceral.

Q. Tell us about your particular style and how you came to it? 

A.  I started as a child to love altarpieces and in particular the painting of the 600s. 

Q. What does your art aim to express?

A. My goal is to make people reflect, make people think and interact as much as possible with my work. I love to overturn and perhaps desecrate only to bring out the sacred that we have forgotten or that have led us to forget.

Q. What personality trait has gotten you in the most trouble?

A. Certainly the frankness and my natural propensity to "reveal" and "reveal" that could be annoying. It caused me pain and damage in the past, but today I really don't care!

Q. What have you had to sacrifice for this career?

A. Maybe I sacrificed a quiet life so as not to think in-depth or maybe I sacrificed the will to screw others for my well-being.

Q. Who are your biggest influences? Are you inspired by the work of your peers or anyone else in particular?

A. I started as a child to love altarpieces and in particular the painting of the 600s. My levitating figures are a reinterpretation of the figures that circled in the altarpieces. Man becomes divine and sacred but also terribly poised, I would say that this ambivalence is the characteristic of my painting.

Q. Is the artistic life lonely? What do you do to counteract it?

A. Yes, but the contrast is when talking to the people I paint in my paintings.

Q. Apart from art, what do you love doing? 

A. Going to the cinema and talking about it, my life has always had two great passions: cinema and painting.

Q. What is your philosophy in matters of art?

A. Quote, rework but never lie!

Q. What does 'success' mean to you?

A. Today we tend to confuse it with the economic one, but there are more rich failures today than successful people. Success consists in doing what you love and seeing that people understand and if this happens, something big "happened!"

Q. What are the biggest things you've learned in life thus far?

A. That you have to take care of what you love and do it with all your strength. Try to be as respectful as possible with others and not concentrate everything on yourself, so that you collaborate in cultural disintegration in all senses of this world.

Q. What’s the best piece of advice you’ve been given, and by who?
 From my high school professor Giuseppe Simonetti. He told me "make a good drawing, sincere, and you will be more than half of the work."  I try to apply it to everything.

Q. What advice would you give to the next generation? 

A. To try to create beauty because living means fighting for the things you believe in and not making money. Life is brief, a memory, a smile. Life must be harmony and not a sequence of numbers and rules that debase it. Here I would feel to say this "create harmony and beauty."