Luigi Rossanigo (1948) - Presenze specchianti

( At this time I ship only within the EU )

The proposed work is a thin mirror-finish aluminum relief plate (embossing) and numbered PdA 2/3, made of 21x15 cm, supported on cardboard, signed on the plate and on the back – visible in the frame about 17x12 cm – with the frame 32x23 cm.
The work will be carefully packaged and shipped within 3 days with a photo-authenticated autograph by the artist – ready to hang or to rest –
traceable and insured shipping- (unfortunately the photo never renders it well).

For those who love innovations and the 20th-century sensibilities, it would be a truly interesting piece in a edition of only 3 copies – practically as if it were a unique piece – signed on the plate – with a 32x23x2 cm frame – a work that suits any decor.

For those who love innovations of the 20th century improved in technique in the 2000s – an intriguing and innovative piece not to be missed (these are collector’s works, as Rossanigo remains the only artist currently tackling 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 various experiments across different disciplines. From early painting experiences where the subject was treated with direct reference to reality, the artist gradually moved in the first half of the 1970s toward an abstract conception of form, summarized in a rapid and forthright gesture. This informal interlude found its natural evolution in a surrealism lived with a uniquely introspective intent, among abnormal mystifications of reality, sharpened with the precision of an 18th-century traveler. While cultivating a parallel devotion to the precious art of goldsmithing and approaching the sculptural environment of Carrara, the versatile artist felt the need to test the volumetric definition of the marble block, transferring onto it the three-dimensional interpretation of the piece already imagined for the aureate jewel. This path led Rossanigo to modify the structural setup of the painting, moving toward the creation of tensile structures and multi-material composites, a new dialectic in which the agreement between painting and sculpture took shape...