The esteemed Chicago painter Corey Postiglione uses semiotic abstraction in his work to portray themes and metaphorical subjects that include labyrinths, mazes, and the ancient symbol of the Ouroboros. Originating in ancient Egyptian iconography, the classical symbol of the Ouroboros depicts a snake in the act of eating its own tail, signifying infinity or the cycle of birth, death, and rebirth. A champion of geometric abstraction, Postiglione uses line to depict a labyrinth of chains, circles, and ovid shapes nesting inside one another. The labyrinth in his paintings signifies a rite of passage or the passage from a centered self to a decentered self. The interlocking connectedness and disconnectedness relate back to the entanglement and interconnection of those navigating a global pandemic.
Postiglione applies an austere technique to depict hard-edged geometric patterns and shapes in his canvas paintings Baroque Tango #2 and Tango Interlude #25, which deliver harmonious color schemes distributed evenly between warm and cool hues. His paintings reference late Modernism through post-painterly abstraction and an emphasis on shape, color, and composition. The result of his concentrated efforts is geometric patterns executed in elegant lines that dance across the flat canvas surface.
受人尊敬的芝加哥画家 Corey Postiglione 在他的作品中使用符号学抽象来描绘主题和隐喻主题，包括迷宫、迷宫和衔尾蛇的古老象征。衔尾蛇的经典符号起源于古埃及的肖像画，描绘了一条吃自己尾巴的蛇，象征着无限或生、死和重生的循环。作为几何抽象的拥护者，Postiglione 使用线条描绘迷宫般的链条、圆形和卵形相互嵌套的形状。他画作中的迷宫象征着一种通过仪式或从一个中心的自我到一个去中心的自我的转变。环环相扣的连通性和脱节与那些在全球大流行中航行的人的纠缠和相互联系有关。 Postiglione 在他的油画《巴洛克探戈#2》和《探戈插曲#25》中应用了一种朴素的技术来描绘硬边几何图案和形状，这两种颜色在暖色调和冷色调之间均匀分布。他的画作通过绘画后的抽象和对形状、颜色和构图的强调来参考晚期现代主义。他集中努力的结果是在平坦的画布表面上以优雅的线条执行的几何图案。