Luigi Rossanigo (1948) - EXIT





| €51 | ||
|---|---|---|
| €44 | ||
| €39 | ||
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Luigi Rossanigo, EXIT, a mixed-media work on outwardly projecting polycarbonate, original edition (2024), 27 by 27 cm, in excellent condition, sold with frame, hand-signed on the back.
Description from the seller
The work up for auction is a dished polycarbonate sculpture from the "Exit" series — these are geometric shapes made with spheres of various colors (in this case black and white) and almost by enchantment a black sphere tries to abandon the stasis it was predestined for, thus creating a splendid protrusion of the transparent support, leaving the form created by the artist unchanged when viewed from the front — yet all this leaves room for the viewer’s own interpretation, in fact the living presences of the protrusion engage in dialogue with the observer ---
signature on the back - authenticating the artist, hand-signed on the photo with the artist’s archive number—Shipped within 3 days in a well-packaged, trackable, insured parcel — artwork signed on the back-
Thus the titles arise — Fugues — flight school — transparencies — Exit — Souvenir in space — help — meditation — sublimation — spatial games — archaeology — etc ….
Unfortunately the photos are compromised by the relief in polycarbonate; in reality the work looks superb and truly opens up a thousand interpretations-
…The distorted canvas communicates the presence of ideas that press, demand space, pulse in an balanced play of fullness and emptiness (here again the sculptural masses), they realize themselves, disappear quickly, in a dynamic vortex that the rippled canvas communicates with immediacy. This outcome, remarkable and original, must be attributed to Rossanigo’s stubborn research; the first attempts date back to 1972, which led the artist to move the surface of the canvas and much more-
---Today Rossanigo reaches a milestone hitherto unexplored, surely unique in the national scene and beyond, thus abandoning the heritage of 1900 to go further and make his artistic research more timely than ever. He works on the transparency of the protruding support to highlight that whole unknown world that lies beneath the skin of space, whether monocromatic or not. Thus we discover the possibility of protruding or manipulating materials such as plexiglass, polycarbonate or other transparent materials which by their nature of transparency nonetheless reflect what surrounds them, creating a new mysterious world made of static and enigmatic fugues. Here the ideas pressing beneath the canvas now appear as if by magic in a variety of transfigurations and shapes made with found objects or everyday use items or made by the artist, thus translating a physical equation of velocity into a space-time dimension without boundaries…
The work up for auction is a dished polycarbonate sculpture from the "Exit" series — these are geometric shapes made with spheres of various colors (in this case black and white) and almost by enchantment a black sphere tries to abandon the stasis it was predestined for, thus creating a splendid protrusion of the transparent support, leaving the form created by the artist unchanged when viewed from the front — yet all this leaves room for the viewer’s own interpretation, in fact the living presences of the protrusion engage in dialogue with the observer ---
signature on the back - authenticating the artist, hand-signed on the photo with the artist’s archive number—Shipped within 3 days in a well-packaged, trackable, insured parcel — artwork signed on the back-
Thus the titles arise — Fugues — flight school — transparencies — Exit — Souvenir in space — help — meditation — sublimation — spatial games — archaeology — etc ….
Unfortunately the photos are compromised by the relief in polycarbonate; in reality the work looks superb and truly opens up a thousand interpretations-
…The distorted canvas communicates the presence of ideas that press, demand space, pulse in an balanced play of fullness and emptiness (here again the sculptural masses), they realize themselves, disappear quickly, in a dynamic vortex that the rippled canvas communicates with immediacy. This outcome, remarkable and original, must be attributed to Rossanigo’s stubborn research; the first attempts date back to 1972, which led the artist to move the surface of the canvas and much more-
---Today Rossanigo reaches a milestone hitherto unexplored, surely unique in the national scene and beyond, thus abandoning the heritage of 1900 to go further and make his artistic research more timely than ever. He works on the transparency of the protruding support to highlight that whole unknown world that lies beneath the skin of space, whether monocromatic or not. Thus we discover the possibility of protruding or manipulating materials such as plexiglass, polycarbonate or other transparent materials which by their nature of transparency nonetheless reflect what surrounds them, creating a new mysterious world made of static and enigmatic fugues. Here the ideas pressing beneath the canvas now appear as if by magic in a variety of transfigurations and shapes made with found objects or everyday use items or made by the artist, thus translating a physical equation of velocity into a space-time dimension without boundaries…

