The way of dealing with the problems of life changes quickly in this world of ours which is continually crossed and remodeled by technology. Even art is contaminated by it when it tries to chase the futuristic times and when it tries to involve fans not only from the point of view of it’s emotional acquisition but also of it’s concrete possession.

Now that people go to galleries less and less due to the advantage of television auctions, there is a need for a new and different link between people’s taste and the opportunity to realize the desire for possession by committing even relatively modest amounts. With the hope, in the latter case, that the chosen artist will reach considerable levels of appreciation and therefore sales over the years.

A utopia? Perhaps for many but not for Daniele Comelli who for the five years has carved out the role of someone who discovers talents in the international field, unknown to most. Some of which have reached remarkable heights today with their art being sold at astounding prices.

A significant example is Marco Battaglini: this Italian painter who works in Costa Rica creates neo-pop works, taking his cue from famous paintings of past centuries, which are currently sold for several tens of thousands of euros. Comelli has created an online gallery that offers the opportunity to view the works of numerous artists carefully selected by him, covering the arc of general visual taste ranging from twentieth-century figuration to the informal up to the most current experiments.

Prices? From five hundred euros upwards. This wide variety of expenditure leads many collectors to enter his site and explore the vast material available which, in addition to painting, also lists sculptures and graphics. And Comelli, on occasion, also personally meets it’s potential customers, who were fascinated by particular pieces of work and are eager to find out more about them before deciding to purchase it. An original approach system, as you can guess, where it is art that goes to find its lovers and not the other way around.

Thus, the paradigm that usually divides the work from the observer is broken. And one can finally transfer his or her desire or emotion into an image that will be fully owned by him or her once it hangs on the walls of their house.