Luigi Rossanigo (1948) - Presenze specchianti

At this time I ship only within the EU.

The proposed work is a thin, embossed, mirror-like aluminum plate (gauffrage) numbered PdA 4/4, measuring 20x15 cm, resting on cardboard, signed on the plate and on the back—visible in a frame of about 17x12 cm—with a frame of 32x23 cm.
The work will be meticulously packaged and shipped within 3 days with a photo-authenticated certificate signed by the artist—ready to hang or to rest on a surface—and trackable and insured shipping (unfortunately the photo never does it justice).

For those who love innovations and the suggestiveness of the 20th century, it would be a truly interesting piece in a limited edition of only 2 copies—practically as if it were a unique piece—signed on the plate—with a frame of 32x23x2 cm; a work that suits all interiors.
The work will be meticulously packaged and shipped within 3 days with a photo-authenticated certificate signed by the artist—ready to hang or to rest on a surface—and trackable and insured shipping (unfortunately the photo never does it justice).

For those who love 20th-century innovations improved in the techniques of the 2000s—an intriguing and innovative piece not to be missed (these are works to collect as Rossanigo remains the only artist who ventures into metal embossing—sooner or later someone will copy him as has happened many times—unfortunately it is his choice to remain an independent artist and an tireless researcher).

…in the slow, steady unfolding of his research, Luigi Rossanigo has pursued a distinctive artistic formation, characterized by varied experimentation across different disciplines. From early painting experiences in which the subject was treated with direct reference to reality, the artist gradually approached an abstract conception of form in the first half of the 1970s, expressed through a rapid and frank gestural language. This informal interlude found its natural evolution in a surrealism lived with a highly personal introspective aim, among abnormal mystifications of reality, sharpened with the precision of a 18th-century traveler. While cultivating a parallel passion for precious jewelry making and drawing closer to the Carrara sculptural milieu, the versatile artist felt the need to test the volumetric definition of the marble block, transferring onto it the three-dimensional interpretation of the work already imagined for the aureate jewel. This path led Rossanigo to modify the painting’s structural layout, moving toward the creation of tensile structures and multi-material composites—a new dialectic in which the agreement between painting and sculpture was realized…