Giuseppe Capogrossi
Giuseppe Capogrossi
Later, he gradually abandoned figuration until he reached a rigorous and personal abstractionism based on the invention of a graphic sign characterised by a single, highly communicative sign-form that is repeated in the most varied combinations. Thus, starting from an elementary sign, combined in constantly changing patterns, Capogrossi gives life to infinite variations that investigate the relationship between sign and space.
Later, he gradually abandoned figuration until he reached a rigorous and personal abstractionism based on the invention of a graphic sign characterised by a single, highly communicative sign-form that is repeated in the most varied combinations. Thus, starting from an elementary sign, combined in constantly changing patterns, Capogrossi gives life to infinite variations that investigate the relationship between sign and space.
Medium: oil on canvas
Medium: oil on canvas
Intro
Intro
The work Surface 154 is characterised by Capogrossi's sign-symbol, the 'fork shape', which is repeated in sequence in various positions and dimensions creating voids and solids. Like in all Capogrossi's work, an obsessive and primitive rhythm is created, emphasised by the chromatic choice based on only two colours, black and white, suspended by the inclusion of small traces of red and orange. The work becomes a charged field in which the balance between empty and full spaces is implemented, perhaps also suggested by Zen thought, for which emptiness is not nothingness, but absence, lack and therefore a place that encloses invisible forms of potential energy.
The work is located at Gallerie d'italia - Milano.
The work Surface 154 is characterised by Capogrossi's sign-symbol, the 'fork shape', which is repeated in sequence in various positions and dimensions creating voids and solids. Like in all Capogrossi's work, an obsessive and primitive rhythm is created, emphasised by the chromatic choice based on only two colours, black and white, suspended by the inclusion of small traces of red and orange. The work becomes a charged field in which the balance between empty and full spaces is implemented, perhaps also suggested by Zen thought, for which emptiness is not nothingness, but absence, lack and therefore a place that encloses invisible forms of potential energy.
The work is located at Gallerie d'italia - Milano.
