Luigi Rossanigo (1948) - Presenze

(At this time I only ship within the EU)

The proposed work is an embossing on canvas resting on a 15x15x2 cm board in two-tone (bicromia) from 2019… title, Presence(s), gold+red, pda 1/1 with a frame 27x27x6 cm.
The work will be carefully packed and shipped within 3 days with authenticity on a photo signed by the artist -- ready to hang.
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 pda 1/1 edition, signed on the back - with a 27x27x6 cm frame - a work that suits all furnishings.
The work will be carefully packed and shipped within 3 days with authenticity on a photo signed by the artist -- ready to hang.
Traceable and insured shipment - (unfortunately the photo never renders well).

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 is currently the only artist who also engages in embossing on metal -- sooner or later someone will copy him 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 research, Luigi Rossanigo has followed a distinctive artistic training, characterized by various experiments across 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, summarized in rapid and blunt gesturality. This informal detour found its natural evolution in a surrealism lived with a highly personal introspective intent, among abnormal mystifications of reality, sharpened with the precision of an eighteenth‑century traveler. Cultivating simultaneously a love for precious jewelry art and approaching the sculptural environment of Carrara, the versatile artist felt the need to challenge himself in 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 toward the creation of tensile structures and multi-material composites, a new dialectic in which the agreement between painting and sculpture was realized.