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

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

“Untitled”

Shaped wooden strips (plywood)
and paint on stretched canvas

Authentic work / 1970–1980

Dimensions: 133 × 133 cm, in transparent plexiglass
Canvas: 130 × 130 cm


Auction estimate
€ 2,800–3,000

Description and artistic analysis

Ben Ormenese’s Untitled is an interesting example of abstract, three-dimensional exploration, in which painting, sculpture and experimentation with materials come together, transcending the traditional boundaries of the painted surface.
The composition is set within a rigorously square format, dominated by a large light-colored surface onto which an irregular, tapered vertical sculptural element is placed.
The central structure, made from shaped wooden strips arranged in a rhythmic succession of parallel reliefs, physically projects from the canvas, creating a refined dialogue between light, material and depth.

A black area in the upper section introduces a striking chromatic and geometric contrast, accentuating the dynamism of the composition.

The distinctive workmanship of the strips produces a series of subtle shadows that change according to the direction of the light and the viewing angle, giving the work a constantly shifting visual quality.

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

The orderly arrangement of the reliefs creates 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 generates a controlled compositional tension.
Of particular significance is the relationship between the white background, the black upper area and the natural tone of the strips, which gives the whole a spare, measured balance.

The work can be read as a reflection on moving beyond traditional painting: no longer merely an image to be viewed frontally, but a sculptural object capable of interacting with the surrounding space.

Historical and artistic context
Ben Ormenese’s artistic research began in the 1960s, when he gradually moved away from traditional painting to focus on constructing wooden structures and investigating the perceptual effects of light.
From the mid-1960s onward, he created the LAM series (lamellar structures), in which surfaces assembled from parallel elements produce optical effects and plays of shadow. 
The work under consideration displays clear formal affinities with this research, particularly in its use of strips and in the relationship between surface and relief. However, it cannot be definitively assigned to the LAM series without further documentary evidence.
Interpretation of the work
The central form may suggest an organic presence, almost like a leaf, a blade or a suspended body, without taking on a clearly defined figurative identity.
The vertical element seems to emerge from the surface and then gradually dissolve toward the bottom, while the black area above enhances its visual force.
The result is a highly spare composition in which movement is not depicted, but arises from the viewer’s perception.

Presentation and protection: The work is protected at the front by a transparent plexiglass sheet positioned in front of the artistic surface, to protect the sculptural elements and the original composition.

Condition note: The protective plexiglass sheet may show slight surface marks, clouding or reflections resulting from use and exposure, which do not necessarily indicate alterations to the underlying artistic surface.

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Condition Report:

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

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Note regarding the frame
If present, the frame is provided entirely free of charge and is considered an accessory to the work; it does not contribute to determining its economic value.
Given the potential fragility, age and delicacy of the materials, minor damage, detachment, chipping or breakage may occur during packing, handling and transport.
Any damage to the frame shall therefore not constitute grounds for dispute, a refund request or a price reduction.

The purchase applies exclusively to the described work of art, while the frame is included free of charge in its current condition.

Ideal for collecting and investment

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