Black Painting #2 - Acrylic on wood frame

This is a unique piece

Artist Vignando Mauro
Category Figurative Paintings
Creation year 2015
Dimensions 150 x 190 cm
Technique Acrylic on wood frame

About

Can subject subtraction generate an image? Can the bewilderment due to loss, be it affection or a material object, emancipate the landscape behind it, freeing it from the task of being a simple background?

This piece is in stock and ready to ship

Regular price € 8.540

MAKE AN OFFER White Glove or special needs?

Shipping worldwide.
Changed your mind? If you are a consumer you may return the purchased artwork within 14 days. Returns are not possible for custom items.

Questions about this piece?

ASK THE SELLER

Shipping, Returns & Payment

Open tab

Shipping
Our shipping methods are determined by item size, type, fragility and specific characteristics. Shipping costs are calculated based on carrier rates, delivery distance and packing complexity.
Return Policy
On items eligible for returns, consumers have 14 days from delivery to submit a return request. Returns are not eligible for custom-made items. Read our terms of sale
Online Payment
Fp Art Online accepts the following payment methods:

Buyer Protection Guaranteed

We want you satisfied. If you're not happy with the way an item arrived, we'll work with you and the seller to reach an optimal resolution. Read our purchase protection

Vignando Mauro

Mauro Vignando was born in Pordenone (Italy) in 1969 and he currently lives in Milan.
Mauro Vignando's series of Black Paintings (I admit they are not walls and yet I still feel the need to set the questions within the framework of these references) are pictures of large size, and not strictly monochromatic as part of the coat of paint has been intentionally removed in what is almost an act of vandalism. Pictures painted in a uniform black that absorbs the light, mock walls where a simple gesture is held, condensed, and crystallised. Vignando charges his painting with his shoulder to impress the autobiographical trace of his passage; to leave the signature of his body. Is he undermining the painting? Or completing its representation? In the end he deliberately leaves it poised between pure abstraction and attempt at figuration.

EXPLORE Vignando Mauro