Diego Randazzo - Anni di lavoro
09
days
07
hours
28
minutes
38
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Selected by Maurizio Buquicchio
Holds a master's degree in film and visual arts; experienced curator, writer, and researcher.
Gallery Estimate € 1,000 - € 1,200
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Anni di lavoro is an original oil-on-canvas diptych by Diego Randazzo, signed and dated 2026, measuring 75 x 50 cm (75 x 50 x 2 cm overall), produced in Italy in a contemporary style.
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Description from the seller
Years of Work - Diptych (from the Canovacci series)
(layers of oil paint, eco-solvents and mediums on canvas used for cleaning brushes,
75x50x2 cm
2026
It is a work that develops from two cloths (rags for cleaning).
Conveying devices that hold various substances such as fluids, liquids, dirt, humidity, grease, color, but at the same time witnesses of memory, repeated gestures and rituals. Objects of common use that have been repeatedly used to clean brushes saturated with oil paint and various solvents. They are stratifications that become the work and the support of the work itself.
The metalinguistic nature of the research is plainly stated and explicit, but the media deception is around the corner and takes shape in refined ploys that reflect, at first glance, the refined technique of trompe-l’oeil. In fact, it is in the great tradition of trompe-l’oeil that we can find the earliest traces of the fascinating painterly tension between illusion and reality.
In this diptych, sharpening our sight we realize that the weave of the fabric (striped and checked) is peculiar to the most popular rags on the market; think of Ikea rags. While the folds, shadows, hem and eyelets, in the lower part of the diptych, are hand-painted and therefore the result of the artist's skill and intuition.
Instagram: https://www.instagram.com/diego__randazzo/
Website: www.diegorandazzo.com
artist bio:
Diego Randazzo (Milan 1984) lives between Milan and Belluno. He completed his diploma at the Brera Art Lyceum and earned a degree in Cultural Heritage Sciences with a thesis in ‘Istituzioni di regia’ at the University of Milano. His work, developed across several media, is focused on some of the main themes of visual culture: the experience of the image, with all its emotional, evocative, anthropological and social components; the devices of looking, which often become, in turn, the object/subject of the work; the archaeology of media, understood as an inquiry into the technological origins of the modern and contemporary gaze, the gaze of the machine, updated with the latest innovations (from the algorithm to operative images); the dimension of storytelling; immersion or – conversely – the estrangement produced by the relationship with the medium. His works are present in public and private collections. A finalist in various contemporary art prizes (The Gifer Festival, Premio Cramum, Arte Laguna, Combat Prize, Premio Ora, Arteam Cup); in 2023 he won the first prize of the Yicca Art Prize and received the Judges' Mention at the Talent Prize of Insideart Magazine. In 2024 his installation #KIDS, a tribute to the tragedy of the Little Martyrs of Gorla and a permanent work of Casa della Memoria in Milan, is included in the Public Art Mapping project realized by Mudec in Milan. He began addressing algorithmic issues as early as 2020 with the project ‘Similar Images’ – at the ADD-art Gallery, curated by Bianca Trevisan – and continues today through the study of AI as a tool for visual research and social inquiry.
Seller's Story
Always curious and passionate about images and moving pictures, my approach over the years has sharpened into an undefinable vision, because it is precisely positioning at the borders of categories (disciplines/languages) that quality by which one stands out. But in a world made of nomenclatures, classifications and genres I can try to define my interests in the following threads:
– The languages (cinema, painting, photography) and their subversion, often denouncing their elusiveness, their corruptibility, their transversality. I always place myself within a theoretical and technical reflection on their status.
– Fiction, the false, the enigma, the subliminal and the unspoken in a refined search for non-linear storytelling, made of details and synecdoche.
– Comparison and affinities between Images of different natures (cinematic, painting and photographic) often juxtaposed to form groups and multitude.
– Excavation in memory, understood both as collective memory (told through testimonies as in the work #KIDS at Casa della Memoria in Milan) and as an archive of intimate and personal memories.
– Play: understood as play between languages, between image and word (the use of phrases and quotes created with AI) and between juxtaposed images that hint at an ironic and playful interweaving.
– Technology and the entire technological apparatus always linked to an analogic development and conception.
– Time: realized through a deep reflection on the moving image, in the idea of sequence and concatenations of events and disparate subjects.
Diego Randazzo
Translated by Google TranslateYears of Work - Diptych (from the Canovacci series)
(layers of oil paint, eco-solvents and mediums on canvas used for cleaning brushes,
75x50x2 cm
2026
It is a work that develops from two cloths (rags for cleaning).
Conveying devices that hold various substances such as fluids, liquids, dirt, humidity, grease, color, but at the same time witnesses of memory, repeated gestures and rituals. Objects of common use that have been repeatedly used to clean brushes saturated with oil paint and various solvents. They are stratifications that become the work and the support of the work itself.
The metalinguistic nature of the research is plainly stated and explicit, but the media deception is around the corner and takes shape in refined ploys that reflect, at first glance, the refined technique of trompe-l’oeil. In fact, it is in the great tradition of trompe-l’oeil that we can find the earliest traces of the fascinating painterly tension between illusion and reality.
In this diptych, sharpening our sight we realize that the weave of the fabric (striped and checked) is peculiar to the most popular rags on the market; think of Ikea rags. While the folds, shadows, hem and eyelets, in the lower part of the diptych, are hand-painted and therefore the result of the artist's skill and intuition.
Instagram: https://www.instagram.com/diego__randazzo/
Website: www.diegorandazzo.com
artist bio:
Diego Randazzo (Milan 1984) lives between Milan and Belluno. He completed his diploma at the Brera Art Lyceum and earned a degree in Cultural Heritage Sciences with a thesis in ‘Istituzioni di regia’ at the University of Milano. His work, developed across several media, is focused on some of the main themes of visual culture: the experience of the image, with all its emotional, evocative, anthropological and social components; the devices of looking, which often become, in turn, the object/subject of the work; the archaeology of media, understood as an inquiry into the technological origins of the modern and contemporary gaze, the gaze of the machine, updated with the latest innovations (from the algorithm to operative images); the dimension of storytelling; immersion or – conversely – the estrangement produced by the relationship with the medium. His works are present in public and private collections. A finalist in various contemporary art prizes (The Gifer Festival, Premio Cramum, Arte Laguna, Combat Prize, Premio Ora, Arteam Cup); in 2023 he won the first prize of the Yicca Art Prize and received the Judges' Mention at the Talent Prize of Insideart Magazine. In 2024 his installation #KIDS, a tribute to the tragedy of the Little Martyrs of Gorla and a permanent work of Casa della Memoria in Milan, is included in the Public Art Mapping project realized by Mudec in Milan. He began addressing algorithmic issues as early as 2020 with the project ‘Similar Images’ – at the ADD-art Gallery, curated by Bianca Trevisan – and continues today through the study of AI as a tool for visual research and social inquiry.
Seller's Story
Always curious and passionate about images and moving pictures, my approach over the years has sharpened into an undefinable vision, because it is precisely positioning at the borders of categories (disciplines/languages) that quality by which one stands out. But in a world made of nomenclatures, classifications and genres I can try to define my interests in the following threads:
– The languages (cinema, painting, photography) and their subversion, often denouncing their elusiveness, their corruptibility, their transversality. I always place myself within a theoretical and technical reflection on their status.
– Fiction, the false, the enigma, the subliminal and the unspoken in a refined search for non-linear storytelling, made of details and synecdoche.
– Comparison and affinities between Images of different natures (cinematic, painting and photographic) often juxtaposed to form groups and multitude.
– Excavation in memory, understood both as collective memory (told through testimonies as in the work #KIDS at Casa della Memoria in Milan) and as an archive of intimate and personal memories.
– Play: understood as play between languages, between image and word (the use of phrases and quotes created with AI) and between juxtaposed images that hint at an ironic and playful interweaving.
– Technology and the entire technological apparatus always linked to an analogic development and conception.
– Time: realized through a deep reflection on the moving image, in the idea of sequence and concatenations of events and disparate subjects.
Diego Randazzo
Translated by Google TranslateDetails
Artist
Diego Randazzo
Sold with frame
No
Sold by
Direct from the artist
Edition
Original
Title of artwork
Anni di lavoro
Technique
Oil painting
Signature
Signed
Country of origin
Italy
Year
2026
Condition
Excellent condition
Colour
Blue, Green, Grey, Multicolour
Height
50 cm
Width
75 cm
Style
Contemporary
Period
2020+
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