Luigi Rossanigo (1948) - Presenze specchianti

(At this time I only ship within the EU)

The proposed work is a thin, reflective embossed aluminum plate (guilloché) and numbered PdA 3/3, made of 21x15 cm, resting on cardboard, signed on the plate and on the back — visible in the frame about 17x12 cm — with a frame of 32x23 cm.

The artwork will be carefully packed and shipped within 3 days with an authentication on a photo signed by the artist — ready to hang or to rest — (the last 3 photos are of PdA 3/3 —
shipment tracked and insured— (unfortunately the photos never convey it well))

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

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

…in the slow and steady unfolding of his search, Luigi Rossanigo has pursued a particular artistic training, characterized by various experiments across different disciplines. From the early painting experiences where the subject was treated with direct reference to reality, the artist, in the first half of the 1970s, progressively approached an abstract conception of form, synthesized in a rapid and blunt gesturality. This informal interlude found its natural evolution in a surrealism lived with a very personal introspective intention, between abnormal mystifications of reality, noted with the precision of an eighteenth‑century traveler. While nurturing the pleasure for the precious art of goldsmithing and drawing closer to the Carrara sculptural environment, 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 aureate jewel. This path led Rossanigo to modify the structural layout of the painting, moving to the creation of tensegrity-like structures and multi-material compounds, a new dialectic in which the agreement between painting and sculpture was realized…."} }|}} }