Luigi Rossanigo (1948) - Presenze specchianti

( At this time I only ship within the EU )

The proposed work is a thin mirrored sheet of embossed aluminum (guilloche), numbered PdA 1/2, made of 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 work will be carefully packed and shipped within 3 days with a certificate on a photo signed by the artist -- ready to hang or to rest on a surface -
traceable and insured shipping - (unfortunately the photo never conveys it well).

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

For those who love the innovations of the 20th century improved in technique in the 2000s -- an intriguing and innovative work not to miss (these are works to collect as today Rossanigo remains the only artist who dares embossing on metal ---- sooner or later someone will take ownership of this technique as has happened many times -- unfortunately it is a 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 education, characterized by various experiments in different disciplines. From 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 frank gesturality. This informal interlude found its natural evolution in a surrealism lived with a very personal introspective intention, among abnormal mystifications of reality, sharp as a 18th-century traveler. While cultivating a contemporaneous pleasure for the precious jewelry art and approaching the sculptural environment of Carrara, the versatile artist felt the need to challenge himself with 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 layout of the painting, moving toward the creation of tensioned structures and polymeric-multicomponent composites, a new dialectic in which the agreement between painting and sculpture became concrete...