PIERO SANI sabato 26 maggio 2018 Login

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RiduciLe opere di PIERO SANI
   


Tenda rossa sul Golfo di Baratti

acrilico su tela cm 80 x 40

 

 



 Cencio damascato rosso

acrilico su tela cm 80 x 40

 

 

 

 

Notte sul mare

acrilico su tela cm 100 x 100


 

 

 


Onde

 Acrilico su stoffa cm 120 x 60



 

 

 

 


Ricognizione sul pensiero

acrilico su tela cm 80 x 120

 

 

 

 

 



Frecce direzionali

Acrilico su tessuto cm 80 x 120




 
 
RiduciLa sua Biografia
   
Piero Sani nasce a Spicchio di Vinci il 10.04.1947; attratto dagli artisti rinascimentali fin dalla scuola
elementare, visita mostre e musei osservando e cercando di capire i meccanismi delle pittura.
Nel 1971 frequenta la scuola di disegno organizzata dal Comune di Certaldo, sotto la guida del Professor
Tosi.
Ha un’attrazione particolare per la metafisica e il surrealismo.
Intanto espone i suoi primi lavori nel 1973 in una personale alla Biblioteca Comunale di Certaldo,
ottenendo un inaspettato consenso di pubblico e di critica.
La sua prima mostra viene visitata dai pittori Beghé e Pini che lo incoraggiano a continuare il suo
cammino pittorico.
Tutto questo è stato il meccanismo che ha fatto intraprendere a Sani una lunga carriera artistica costellata
da numerosi successi in Italia e all’estero.
I suoi lavori figurano in numerose collezioni pubbliche e private.
I suoi periodi pittorici si dividono in:
“I Galli” dal 1972 al 1975
“Disegni surreali” dal 1975 al 1980
“Le sagome” dal 1976 al 1980
“Le sfingi” dal 1981 al 1992
“I Cenci” dal 1993 e che ancora oggi fanno parte della sua produzione pittorica.
Piero Sani vive e lavora a Poggibonsi in Via del Casalino, 50 in provincia di Siena.
 
 
RiduciIl suo Curriculum
   

mostre e rassegne

1972 1° Estemporanea, Certaldo Alto (FI)
1972 1° Premio Vico d’Elsa (FI)
1973 “Primavere Massese”; Massa Carrara
1973 2° Rassegna di pittura e grafica Sant’Ambroeus, Milano
1974 2° Meeting int. pittura e grafica, Carrara, Avenza
1974 “Colori d’inverno”, Viareggio (LU)
1974 7° Edizione premio Montespertoli (FI)
1974 4° Edizione premio Castiglione d’Orcia (SI)
1974 1° Edizione “Metastasio” Prato
1974 Rassegna del Miniquadro, San Lucchese, Poggibonsi (SI)
1974 1° Premio grafica “Bottega dè Vageri”, Viareggio
1974 “La Grafica”, Galleria “La Magione”, Poggibonsi (SI)
1975 2° Rassegna premio Tavarnelle Val di Pesa (FI)
1975 1° Premio “Il Passignano”, San Donato in Poggio (FI)
1975 2° Biennale “Benozzo Gozzoli”, Certaldo (FI)
1975 Premio Sant’Ambroeus, Milano
1975 10° Premio “Pera”, Capannori (LU)
1975 6° Premio Vico d’Elsa (FI)
1976 Poggibonsi Arte
1977 1° Premio “Papaiano d’argento”
1978 2° Premio “Papaiano d’argento”
1978 1° Biennale Città di La Spezia
1978 Poggibonsi Arte
1980 Poggibonsi Arte
1987 “Natale nell’Arte”, Chiesa dei Catalani, Messina
1988 “Rassegna Internazionale del Sacro”, Chiostro S. Niccolò, Spoleto
1988 Poggibonsi Arte
1988 “Fiorente” mostra ecologico itinerante, Comune di Firenze
1989 “In naturale” Sala della Torre, Greve in Chiani (FI)
1990 100 Pittori di Via Margutta 2° edizione - fa parte del gruppo “I 100 pittori di Via Margutta”
1990 “Verifica 90” Itinerante, Certaldo-Roma-Locri-Trento
1990 “Diciotto per ventiquattro”, Galleria “E. Wicher Wuppertal, Germania
1990 “International Art Horizon”, New York
1990 “Spunti e appunti figurativi” alla Galleria Oveno di Sopramonte, Trento
1991 “Levico Arte” Palaexpò di Levico Terme
1991 “Diplo” Fiera internazionale del libro, Firenze Fortezza da Basso
1991 Poggibonsi Arte
1991 “Arte come forma delle idee” alla Galleria Miniaci S. Gimignano
1991 Premio Italia “Città di Vico Pisano” Terme di Uliveto
1991 “Six Tuscany Artists” alla Realist Art Society and Gallery di San Francisco, USA
1992 “Diplo” Fiera internazionale del libro, Firenze
1994 Collabora con la rivista parigina Plages, con numerosi interventi
1995 “Fabulae” Comunedi Noale, Palazzo della Loggia, Noale
1995 “Rimember Giulietta” Accademia di Belle Arti di Carrara, Galleria Vittoria Roma
1996 “Omaggio a G. Marconi”, Cassa di Risparmio di Imola
1996 “Mail-Art preistory” Forlì
1996 “La Terrazzata” da Maria Zamboni, Roma
1996 “Giochi d’Artista” Cagliari
1997 “Fiori e ancora fiori”, Forlì
1997 “Liscio come l’olio” Museo civiltà contadina, Arnasco, Savona
1998 “OVA” Eart Studio Firenze
1998 “Eau - Feu - Air - Maison Des Associations Parigi
1998 “La Follia” Silvia Milano
1998 L’Opera interpretata” omaggio di artisti europei a G. Segantini Casinò Municipale
di Arco - Itinerante
1998 “Libro d’Artista” Avida Dollars, Milano
1998 “Libri d’Artista” Castel S. Pietro Terme, Bologna
1998 “Il volto, la maschera” Agorà XXI di Baires, Milano
1998 “On the Road” Piazza Brin La Spezia
1998 “Per Augusto Daolio” Galleria “La Torre” Spilinbergo
1998 “Les Artistes de Plages” Circolo Culturale “Il Navile”, Bologna
1998 Cogito Ego Sum” Casole d’Elsa (SI), Palazzo Comunale
1999 Happy birthday Castel S. Pietro, Bologna
1999 Inviato al Premio Lissone, Lissone
2000 “Quel libro nel cammino della mia vita” Comune di Milano, Biblioteca Affuori, Milano
2000 “Misteries of the Word” Stuka Fabrika, Belgio
2000 “Exit a Roberto Vitali”Comune di Bologna, Bologna
2000 1ª edizione “Miniatura moderna” Roma Galleria di M. Zamboni
2000 “La Via Francigena in Val d’Elsa” Piero Studio, Poggibonsi
2000 “Paesaggio Paesaggio” Casale Petunia Comune di Appignano (MC)
2000 “Word - Wide Yar of the Matemathics” Comune di Bologna, Bologna
2000 “Paracadutismo” Universidad i Boitiva, Brasil
2001 Direttore artistico della 1ª edizione “T-shirt art” Mostra internazionale itinerante
Poggibonsi-Lucca-Siena-Grosseto-Pontedera-Follonica
2001 “Il colore dei Fiori” Via Maestra 114 Arte Contemporanea Poggibonsi
2001 “In riva al mare” Via Maestra 114 Arte Contemporanea Poggibonsi
2001 “Arte in vetrina” Via Maestra 114 Arte Contemporanea Poggibonsi
2001 2ª edizione della Miniatura Moderna, Roma
2001 2ª edizione del Mobile d’artisa, Pistoia Chiesa di S. Leone
2001 “La passiflora, passione e conoscenza” Dipartimento di biologia vegetale
Università della Sapienza, Roma
2001 “Peace” The university of Toledo, Ohio, USA
2001 “Pink” Città di Kioto, Giappone
2001 “Citron” Mentone, Francia
2001 “Sentieri interrotti” Bassano del Grappa Museo Civico
2001 Arte Bari con “Via Maestra 114”
2002 Arte Padova con “Via Maestra 114”
2002 Poggibonsi l’ombellico del mondo “Via Maestra 114”
2002 Premio Firenze, Firenze Palazzo Vecchio Salone dei 500
2002 Reggio Emilia “Immagina” Fiera d’Arte Regio Emilia
2002 Reggio Emilia “Le stanze di Heros”, Fiera d’Arte di Reggio Emilia
2002 XXIV incontro artistico a le Colonete, Venezia
2003 “Ricambio generazionale” Hotel Astoria, Stresa, Svizzara
2003 “Marconi e la sua epoca” Pinacoteca di Castellaneta (TA) Sasso Marconi (BO)
2003 “Liber - Azion 2 itinerante di Libri d’Artista” - Verbania - Villa Giulia Pallanza
Villa Bernocchi - Premeno - Biblioteca Civica Intra - La Fabbrica - Villa d’Ossola
2003 “Le stanze di Heros” Galleria Comunale Piombino (LI) e “Immagina” Reggio Emilia
2003 25ª Rassegna “Le Colonete” Venezia
2003 Rassegna galleria Art.Point BlaK Firenze
2007 “Immagina” Reggio Emilia, Galleria “Artouverture”
2007 Città di Ceuta Museo Do Rivellin, Spagna “Globalizacion... que... como?
2007 Castel San Pietro “For bike” Galleria Comunale d’Arte Contemporanea
2007 Spazio espositivo Sartim - Via Brera Milano
2007 Art for children - Galleria SanLorenzo Milano
2008 Associazione Culturale “Torino Città Amica” Torino
2008 Pinacoteca “Rodolfo Valentino” Castellaneta
2008 “Con Brain Cell” Osaka, Giappone
2008 “Le Colonete” Ass.Culturale, Venezia
2008 “In permanenza” Galleria Artouverture, Milano
2008 Da Alberto da Giussano” Circolo della stampa, Milano
2009 Galleria Artouverture, Milano in permanenza
2009 Galleria “Zeminhoff ” “Il segno”
2009 XXXI incontro artistico “Le Colonete” Venezia
2009 Kunstart Bolzano - Galleria Gaudì
2009 Palazzo Esposizioni - Galleria Gaudì giugno, luglio, Madrid
2009 Associazione Culturale “Artisti del presente”
2009 “Quelli che fanno eco” Galleria del Candelaio, Firenze
2009 “Progetto Polioplus, Teatro Saschall Firenze
2009 “Vedoquadro” cento artisti nel formato 30 per 30, Villa Pacchiani Santa Croce sull’Arno
2009 Palazzo dell’Ambasciata Italiana San Josè - Costa Rica
Museo d’arte italiana in America su iniziativa dell’ambasciatore italiano Carlo Tizzino -
Gregorio Rossi e Chiara Filippini


mostre personalI

1973 Biblioteca Comunale, Certaldo (FI)
Sala Esposizioni Hotel Alcide, Poggibonsi (SI)
1974 Galleria La Spirale, Prato (presentato da G. Caldini)

1976
“Intorno alla realtà”, Galleria Caf, Ferrara (presentato da A. Campi)
“Sfumature”, Club Antares, Altedo (BO) (presentato da M. Millet)
Galleria La Magione, Poggibonsi (SI) (presentato da G. Corsoni)

1977 Galleria Il Cavalletto, Tavarnelle Val di Pesa (FI)
1978 Galleria La Spirale, Prato (presentato da D. Pasquali)
1978 Galleria La Spirale, Prato (presentato da E. Natali)
1986 “Le Sfingi”, 1978 Galleria La Spirale, Prato (presentato da N. Micieli)
1988 “Le donne di Albrecht”, Galleria Salammbo, Parigi (presentato da P. Leuleu)
1989 Galleria Sala d’Arte San Lorenzo, Poggibonsi (presentato da N. Micieli)
“Fammes”, Galleria Salammbo, Parigi (presentato da P. Leuleu)
EtruriaArte, Venturina (LI)
Villa della Rocca, San Gimignano (SI)
1990
Galleria Vittoria, Roma (presentato da T. Todi e A. De Marco)
Centro Culturale Santagostino, Roma (presentato da T. Todi)

1991
Umbria Expò, Perugia
“Tuscny Artists, Realist Art Society and Gallery, San Francisco
“L’isola, la donna, le orchidee”, Galerie Les Orchidées, Le Port, Ile de La Reunion
(presentato da M. Zourgane)

1992 “Sfingi” Palazzo Pretorio, Certaldo (FI) (presentato da A. Spini e N. Micieli)
1993 “In rosa”, Caffè Petrarca, Firenze (presentato da R. Fiorini)

“In rosa”, Piero studio, Poggibonsi
1994 “Dalle terre di Acheloo”, Museo Etrusco di Murlo, Siena (presentato da L. Scali)
1995 “Natura Morsa”, Galleria del Candelaio, Firenze (presentato da R. Fiorini)

“Sfingi” Spazio Aperto Papaiano, Poggibonsi (SI)
“Natura Monstar”, Parti d’Arte, Poggibonsi (SI) (presentato da M. Staccioli)
1996 “Pane e formaggio”, Osteria di Vico, Vico d’Elsa (FI)
1997 “Storie e dintorni”, Spazio Santa Caterina, Prato (presentato da N. Micieli)
1997 “Il ratto d’Europa”, EtruriaArte8, Venturina (LI)
1998 “Storie e dintorni”, Galleria Gnaccarini, Bologna (presentato da M. Gnaccarini)
“Storie”, Galleria Gnaccarini, Bologna
2000 “Dintorni di storie”, Parti d’Arte, San Gimignano (SI)
“Dintorni di storie”, Cassero del Castello di Staggia Senese (SI)

2001
“La forma il colore”, Chiostro della Basilica di San Lucchese, Poggibonsi (SI)
“Peace”, University of Toledo, Ohio (presentato da T. Pereira)
“Racconti”, Avalon Pub, San Gimignano (SI)
“Padova Arte”, stand personale con la Galleria Via Maestra 114 (presentato da M. Zuddas)

2002 “Tra cielo e terra”, Pienza Art Gallery, Pienza (SI)
2003 “Tra cielo e terra” Atelier Forma&Design, Pontassieve (FI) (presentato da R. Fiorini)
“Aspettando un filo di vento”, Galleria Via Maestra 114, Poggibonsi (SI)
(presentato da R. Guerrieri)


2004
“Vivo qui”, Circolo Culturale Il Castello, Città di Goito (presentato da R. Fiorini)
Realizzazione del 1° Palio del Pigio, Poggibonsi (SI)

2007
“Storie di cenci” (presentazione di Chiara Filippini) La Rotonda di Livorno

2008
“Noir Cafè” Poggibonsi “Pitture Recenti”

2008
“Nello studio del pittore” Poggibonsi

2009
Museo Magi - Pieve di Cento - Bologna “Momenti di quiete tra tende e cipressi”
(Presentazione di Giulio Bargellini)

2010
“Viaggiando tra tende e cipressi” Città di Prato - Cassero Medioevale
30 gennaio - 21 febbraio (presentazione di Nicola Micieli)

 
 
RiduciENGLISH
   
 When a painter appears to be giving up obvious qualities of design by opting to use rareified
technical means, a phenomenon one notes in Piero’s Sani work, one wonders why he
chose a kind of self-limitation which deprives him of the use of pictorial abilities for which
he is still highly acclaimed. Why give up this possibility of empathy at a time in which
he could be gaining greater acclaim and popular appeal by falling in with the recycling of
“anacronistic” styles which are so popular today? Furthermore, he assumes this attitude
while working in a cultural climate which in factencourages such aesthetic options. By
following fashion, Sani too could be part of a widespread and highly acclaimed group. He
has however made his choice in the opposite direction, rejecting obvious material skill in
favour of subtle speculations. Sani, far from belonging to a regional reality which, despite
certain important works and artists, rarely emerges on the national scese, is a lone sailor.
His pictorial intelligence is linked to themes which are being debated on the international
scene: this isolates him from the domestic circuit which provides so many with a local
and gratifyng success. Nicola Micieli had already noted this as early as 1986. His culture
teaches back beyond history, from the mythical Greek roots of Mediterranean art to the
saxon speculations involved in the pragmatic objectivism of American pop-art. Similarities
between his work and that of other artists rests solely on the use of certain characterizing
instruments, but what he produces is conceptually autonomous, even though its
moralistic and polemic vein reveal the Tuscan origin of their author. Let us consider what
his work still reflects of the Pop wave which Ibroke on European shores. The techniques
used by its protagonists had already been experimented by many well-known French
and English artists, but their contributions was conceptual and ideological rather than, as
so often claimed, linguistic or iconogical, Lucy Lippard’s essay (1966), one of the first
which deals with these matters, makes it quite clear in a that there is a possible comparision
between Sani and Pop Art: his careful use of colour, among other things, marks his
separateness. Hence one must be very careful in attributing these modes, despite tangential
similarities, to him and to others like him. It would be incongruous to call them followers
of the north american stream. One should rather examine a certain mockery in the
meaning of Sani’s paintings in the thematic context of early Poesia Visiva, which clearly
effected both Florence and Tuscany.

Sani actually gives some of his works titles taken from pseudo-publicity slogans of the
time. His Sphinxes might well bring to mind the registered trade-mark of a widely-sold
product. The cultural background, mythological echoes, and the use of the Sienese countryside
as setting however bring us to quite other conclusions. We sink into the whimsical
and the grotesque, in a word, the Fantastic, while winking occasionally at Surrealism. A
composite self-portait includes the famous photograph of Man Ray Me with Meret Openheim
together with grafually multiplied press-proofs such as we find in Salvador Dali’s
Six Apparitions of Lenin at a Piano Keyboard. Sani’s paintings always come up with
some incongruous detail which destabilizes what could have benn considered as portraits
or tranquilly delineated landscapes. Their chromatic quality plays an important part here,
It is mental, artificial colour, carefully set out in refines and often very delicate tonal
scales with, however, strident, fluorescent, often slashing interruptions. This use of colour
reveals the mediative quality of his, which a casual or superficial observer might consider
simplistic. It is easier for us to understand his use of colours if we examine his recent
landscape painting, in which it has a merely tautological function: Sienese hills painted in
variations of burnt Siena, a colour dear to the italian tradition. These vast panoramic vision
are hidden away, winking at us from behind the parti-coloured drapes which are not
intended to hide the vision itself; not are they casually hung up against flat backgrounds.
If anything they function as theatical curtains which reveal pure or rather purified vistas,
where there are no constructions or presences. The landscape is shown as an intact and
concrete presence, but alas, as fiction or performance, it is but the representation of an
ideal reality. The clever shades of browns and greys with which Sani synthesizes his vision
of landscape suggest a subtle dichotomy between presence and absence. The draper



ies in fact hide nothing and function as do the sphinxes, which ask difficult questions of
passers-by. The cleverly-arranged curtains pose questions themselves: what it missing in
these paintings, if nothing is hidden? As far as humor in concerned, these is a constant
element of the fantascic: behind the curtains there could be Mickey Mouse carryng a naked
lady on horseback (or, on the ither hand, is it Mickey Mouse who looks like an ancient
knight?) Here echoes of Pop are forced into an innatural union with noble classical
quotations. These landscapes could serve as background for Sigmund Freud, riding zealously
on a Durer horse. However, the international incongrence of the images is reinforced
by the figurative tchniques the artist uses; billboard style, so that the deelicately
pictorial comes up against representative images which obviously derive from photography:
a bitter quarrel between content and meaning. Thus Sani’s poetics provide their own
values: they are provocations which really belong to the world of visual communication
and are in no way connected with ideology, the socio-political, for example. It is worth
nothing, futhermore, that the author refers to these works as rags (Cenci). Though their
large stripes and dots reveal their plebeian origin, they recall Baroque glories, just in case
one migh expect who knows what wonders to be hidden behind these “curtains”: These
and similar images show a clear-eyed pragmatism, the eye of a disillusioned poet, yet it is
quite clear that one cannot consider his painting to be the work of a “neutral” artist. One
must here consider the many artists in Tuscany who resort to a kind of naturalism, claiming
to be realistic. They are caught in an inexpressive web: that of the picturesque materiality
which adds up to indifference and causes one to give up on a dialectic, ethically
critical relationship with existentialism. On the other hand, we do obderve a Sani-sphinx,
his wings clipped who offers a toast, glancing away from the idyllic rural countryside. It
is difficult to define Piero Sani’s modes od expression. As we have said, it would be vulgarly
simplistic to include him among the many late pop artists still around, while it
would be aesthetically difficult to place him among the fantastic, even though he may appear
attracted and indeed involved in that particular sphere. But who could say for certain
that his sphinxes are born, as in the case of the surrealists, of romantic and symbolist
painting? Are they not derived from those gross cement statues which, together with Disney
dwarfs, adorn gardens? Unfortunately the categories which Todorov used to define
the fantastic in literature are not applicable to the visual arts. The Fantastic in the visual
arts is a meta-category without clear margins; it crosses all boundaries. One might reasonably
deduce, considering the significance of his images, that Sani belongs to the world of
fantastic art and expresses himself in the pop mode. This in not particulary bizzarre if we
consider that Josè Pierre lists James Rosenquist one of the main exponents of pop art, in
the distionary attached to his essay Le Surrèalisme (Paris, 1967). Other such examples
could be quoted: Claes Oldemburg?s flabby figures have been seen as a prefiguration of
the work of Dalì. These reflections are not merely vain but are useful in characterizing
Sanu’s work and in clarifyng the breadth of vision of a painter whose cultural autonomy
and originality derive from his choise of isolation. In oder to evaluate his work we need
other points of comparison. Abolishing chiaroscuro is one of the most outstanding traits
which characterize figurative experimentation at the turn of the century, which this painter
adopts. He does not give up classical ideas of structure in his painting but considers
Durer and Disney as contemporaries who belong to a single temporal reality which allows
one to cross temporal boundaries and gather together imeges outside time, odeas derived
from the bottomless pit of artistic memory. The unmoved metapysicallandscapes revealed
(or concealed) by both the Cenci and the Sfinge are both outside time, and very much
present. This a-temporality, so complex to obtain, shows up the theatricality of the paintings.
They offer glimpses of a fictitious and idealized which is subite and ambiguous and
where the few actors, often armed warriors, only fight for publicity or for some frivolous
ideology. If however we want to attribute Sani’s recurring iconologies to his existential
experience, what is an artist who has to hide among his own people, if not a warrior
whose only defence is the armour which hides him and preserves him from daily insult?



What can we call isolation ans the non-communicatins caused by indifference and the
lack of cultural awareness? Is it not a sphinx which never answers or only poses insoluble
enigmas? What is the ignored struggle of poetry for recognition, if not a flattened icon, an
unreal landscape, less than a meaningless rag? If these readings were inadeguate, the artist
would not make such insistent use of the image of Freud as he does in one of his most
successful paintings. Surreal humour must therefore have a sarcastic moralistic point,
which is very clear in the triptych. The transparent toothpaste which frees the mind. The
story consistes of a succession of cartoons which show a warrior whose head is wrapped
in a tri-coloured cloud, fighting against a mythical dragon by thrusting a tooth-brush in his
mouth: the dragon takes on the colour of the toothpaste and dies. It is a parabole of fantasy
and cultural tradition being slain by the violent invasion of mass-immagination,
which however derives its own icons from the same tradition. Myth and mythology are
once again important in our world, especially the myth of origin. It is equally true that we
are living in a historical period in which sincretism prevails: the trans-avant guard movement
was particulary significant in this respect . We are victims of flattening-out and depersonalization,
of the mixing of genres and their meanings. In the face of this, the most
careful among us cultivate our reactions and claim our identity. Myth is ever-present in
man and helps him to recognize himself and to be recognized. But in order to obtain this
we shall have to outlive our own culture. It is no coincidence that Sani gave up his pencil
in favour of photography which is, by antonomasia, the main vehicle of figurative fiction.
Absence is the constant theme of his poetics: lack of response in Shphinxes or concealment
in Cenci, because a photografh establiches absence instrumentally, by means of a
technical procedure. Photography led painting into the realm of the Fantastic. By using
the pretext of documented and descriptive precision, and of historical truth, photography
has allowed painting to expand outside the self-referentialty of its own languace. Thus we
see the aesthetic form Sani’s paintings assume and the meaning the artist gives them are
perfecty coherent. The figurative method the Tuscan adopts corresponds tecnically and
mechanically to thet of Andy Warhol, whereas his basic assumptions are clored to Protestant
dadaism. Clearly the choice he makes cannot be attributed to a late usse of Pop language.
He produces a message which is used to formulate his specificaesthetic speculations,
now clothed in a recognizable style and having a clear maturity of expression.



 

 

 
 
 
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