NEMO’S – Gun

Acrylic and ink on paper on cardboard panel
50 x 70 cm, 2022

Frame included

Not Available

Artist info


Nemo's began drawing as a child, later on recognizing this gesture as the most authentic way of expressing himself. In 2002 he started painting walls in abandoned spaces or factories; he then adopted the name of the main character of the book "Little Nemo in Slumberland" by cartoonist Winsor McCay. His first inspiration came from anatomy, biology and the comics books he found at home, together with science fiction movies and dystopian cyberpunk tales of the early 1980s. Since the very beginning he was interested in human beings as "social animals", which led him to define a prototype of a hominid describing the contradictions of our time: "Naked and devoid of any sign of civilization, the human being shows itself for what it really is: a defenseless creature at the mercy of nature and of itself without hierarchical structures, whose only purpose is to survive”. In a balance between wonder and repulsion, Nemo's thus describes contemporary society and tries to give a name to what surrounds him. Nemo's art can be appreciated in numerous countries worldwide (Latin America, United States, India, Africa and Europe). His work is rich with social meanings and deals with realities that are usually marginalized, such as suburbia and prisons. Between 2016 and 2017 he published two books with the Italian publisher Logos. The first one is a collection of drawings, and the second one deals with the lack of water issue around the world.

More info

Through his recognizable aesthetic language, once again Nemo’s offers us a reading of our time that dwells on its contradictions, in a balance between wonder and repulsion.

The artist develops a new story through the allegorical image of the Hands (Mani), a ductile tool capable of translating into shapes the emotions and discords of our time, making tangible his intimate vision of contemporary society.

The element of the Hand has always fascinated Nemo’s, starting from its morphological nature, and therefore from its natural ability of movement and transformation, becoming the protagonist of infinite and always different actions and interactions, reaching its most deeply rooted function of prolonging the expressive capacities of the intellect.

The Hand is viewed as a synthesis of the human being, as a physical translation of our creative potential, but also of our inconsistencies as an evolved species.