Luigi Rossanigo (1948) - Presenze specchianti

( At this period I ship only within the EU )

The proposed work is a thin relief mirror-like aluminum plate (embossing) numbered PdA 1/2, measuring 21x15 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 last 5 photos are of no. 1/2).
The work will be carefully packaged and shipped within 3 days with an autograph on a photo signed by the artist -- ready to hang or to place --
traceable and insured shipment - (unfortunately the photo never renders well).

For those who love the innovations and suggestions of the 20th century, it would be a truly interesting work in a limited edition of only 2 copies—practically as if it were a unique specimen.— signed on the plate - with a frame of 32x23x2 cm - a piece that suits all kinds of interiors.

For those who love the innovations of the 20th century refined in technique over the 2000s — an intriguing and innovative work not to be missed (these are works to collect, as at the moment Rossanigo remains the only artist who dares embossing on metal—sooner or later someone will master this technique as has happened many times before—unfortunately the choice to remain an independent artist and an indefatigable researcher).

…in the slow and steady unfolding of his research, Luigi Rossanigo has pursued a particular artistic formation, characterized by varied experiments across different disciplines. From his early painting experiences in which the subject was treated with direct reference to the real, the artist, in the first half of the 1970s, progressively approached an abstract concept of form, summarized in a rapid and blunt gesturality. This informal aside found its natural evolution in a surrealism lived with a highly personal introspective intention, among abnormal distortions of reality, punctuated with the precision of an eighteenth-century traveler. While simultaneously cultivating a delight in the precious art of jewelry and approaching the sculptural environment of Carrara, the versatile artist felt the need to undertake the volumetric definition of the marble block, transferring onto it the three-dimensional interpretation of the work already imagined for the golden jewel. This path led Rossanigo to modify the structural setup of the painting, moving to the realization of tensile structures and multi-material composites, a new dialectic in which the agreement between painting and sculpture materialized.