Leonardo Dini - Vase - Ceramic - Under the palms





€800 | ||
|---|---|---|
€750 |
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Leonardo Dini, titled Under the palms, is a wheel-thrown ceramic piece with engobbio and hand-painted decoration, made in Italy in 60 x 35 x 35 cm and delivered in a wooden crate in come nuovo condition.
Description from the seller
Wheel-thrown pottery, engobe, hand-painted.
Like new
Leonardo Dini
60 x 35 x 35 cm
Wooden crate
Leonardo Dini
Pietrasanta, 1994
Lives and works in Pieve di Camaiore (LU), Italy
Leonardo Dini develops a research that traverses ceramic, sculpture and image, building a language in which memory and vision intertwine.
His practice originates in tattooing, from which derives an attention to the sign, to the symbol and to the surface as narrative space.
This approach progressively extends to painting and ceramics, up to including the three-dimensional dimension in vases and object-sculptures.
Central in his research is the figure of the swallow, a recurring element through which he investigates dynamics of identity, relationship and tension.
The comparison with Pietrasanta’s artisanal context has helped define a strong material sensibility, visible in the use of techniques such as raku, lustre and painterly interventions.
The surfaces become layered fields, crossed by signs and symbols that recall tattooing and urban language.
Wheel-thrown pottery, engobe, hand-painted.
Like new
Leonardo Dini
60 x 35 x 35 cm
Wooden crate
Leonardo Dini
Pietrasanta, 1994
Lives and works in Pieve di Camaiore (LU), Italy
Leonardo Dini develops a research that traverses ceramic, sculpture and image, building a language in which memory and vision intertwine.
His practice originates in tattooing, from which derives an attention to the sign, to the symbol and to the surface as narrative space.
This approach progressively extends to painting and ceramics, up to including the three-dimensional dimension in vases and object-sculptures.
Central in his research is the figure of the swallow, a recurring element through which he investigates dynamics of identity, relationship and tension.
The comparison with Pietrasanta’s artisanal context has helped define a strong material sensibility, visible in the use of techniques such as raku, lustre and painterly interventions.
The surfaces become layered fields, crossed by signs and symbols that recall tattooing and urban language.

