Ben Ormenese (1930-2013) - Senza titolo - XL format

Ben Ormenese
(Prata di Pordenone, March 3, 1930 - Pordenone, July 15, 2013)

“Untitled”

Wooden slats shaped (plywood)
and stretched canvas varnish

Authentic work / 1970-1980

Dimensions: 133 x 133 cm in transparent plexiglass
Canvas: 130 x 130 cm


Auction estimate
€ 2,800 – 3,000

Description and artistic analysis

The “Untitled” work by Ben Ormenese represents an interesting example of abstract and three-dimensional research, in which painting, sculpture and material experimentation meet, transcending the traditional boundaries of the pictorial surface.
The composition develops within a strict square format, dominated by a broad light-colored surface on which a vertical plastic element, irregular and tapering, is inserted.
The central structure, created with shaped wooden slats arranged in a rhythmic succession of parallel reliefs, rises physically from the plane of the canvas, creating a refined dialogue between light, matter and depth.

A black fill, located in the upper part, introduces a strong chromatic and geometric contrast, heightening the dynamism of the composition.

The particular processing of the slats produces a sequence of subtle shadows that change with the direction of light and the viewing point, giving the work a continually variable visual perception.

The artistic language: matter, space and movement
In this composition Ormenese renounces figurative representation to focus on the fundamental elements of the visual language: form, rhythm, surface, light and space.
Wood is not merely a support material, but becomes the protagonist of the artistic construction.

The orderly arrangement of the reliefs introduces an optical vibration that seems to animate the surface, while the contrast between the verticality of the central form and the stability of the square perimeter creates a controlled compositional tension.
Particularly meaningful is the relationship between the white of the background, the black of the upper fill and the natural tone of the slats, which gives the whole a essential and measured balance.

The work can be read as a meditation on the overcoming of traditional painting: no longer just an image to be viewed frontally, but a plastic object capable of interacting with the surrounding space.

Historical and artistic context
Ben Ormenese’s research develops from the 1960s, when the artist progressively abandons traditional painting to devote himself to building wooden structures and investigating the perceptual effects of light.
Already from the mid-1960s he produced the LAM cycle (lamellar structures), in which surfaces articulated into parallel elements produce optical effects and shadows. The work under examination shows evident formal affinities with these investigations, especially in the use of slats and the relationship between surface and relief. However, it is not possible to assign it with certainty to the LAM cycle without further documentary corroboration.

Interpretation of the work
The central form can evoke an organic presence, perhaps a leaf, a blade, or a suspended body, but without assuming a defined figurative identity.
The vertical element seems to emerge from the surface and then progressively dissolve downward, while the black upper fill enhances its visual force.
The result is a composition of great essentiality, in which movement is not represented, but arises from the observer’s perception.

Presentation and protection: The work is protected on the front by a transparent plexiglass sheet placed in front of the artistic surface, serving to protect the plastic elements and the original composition.

Conservation note: The protective plexiglass sheet may show slight surface marks, halos or reflections due to use and exposure, which do not necessarily constitute alterations to the underlying artistic surface.

__________________________________________________
Condition Report:

Good, compatible with the presumed age of the work. Signs of time on plexiglass

__________________________________________________

Note regarding the frame
The frame, where present, is provided free of charge and considered an accessory element of the work, not contributing to determining its monetary value.
Considering the possible fragility, age and delicacy of the materials, during packaging, handling and transport there may be small damages, detachments, chipping or breakages.
Any damage to the frame cannot therefore be grounds for dispute, reimbursement, or price reduction.

The purchase is understood to refer exclusively to the described artwork, while the frame is given as a complimentary accessory, in its existing condition.

Ideal for collecting and investment

Professional packaging and insured shipping
Museum-grade shipping in a wooden crate