Luigi Rossanigo (1948) - Presenze specchianti

( At this time I ship only within the EU ) The proposed work is a thin, embossed aluminum mirror plate (debossing) numbered PdA 1/3, 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 -- (the last 3 photos are of PdA 3/3 -- shipment trackable and insured -- (unfortunately the photo never does it justice). For those who love the innovations and suggestions of the 20th century, it would be a truly interesting piece in a run of only 3 copies—practically as if it were a unique piece— signed on the plate—with a frame of 32x23x2 cm—the work suits all types of furnishings. For those who love 20th-century innovations improved in techniques in the 2000s -- an intriguing and innovative work not to be missed (these are works to collect as Rossanigo remains the only artist who has ventured into embossing on metal—sooner or later someone will take up this technique as has happened many times before—it’s just the choice to stay an independent artist and an tireless researcher). …in the slow and steady unraveling of his research, Luigi Rossanigo has followed a particular artistic formation, characterized by various experiments in different disciplines. From the 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 a quick 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, pointed with the precision of a 18th-century traveler. While cultivating a parallel delight for the precious art of goldsmithing and approaching the sculptural environment of Carrara, the versatile artist felt the need to undertake 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 towards the creation of tension structures and polymeric multicomponent compounds, a new dialectic in which the agreement between painting and sculpture was realized...

Estimate:$336.63

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