Casellario
Edition 1 of 150
- Artist Del Pezzo Lucio
- Category Paintings
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Creation year 2020
- Dimensions 151 W x 101 H x 6 D cm
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Description
Screen printing, three-level collage on paper, lacquered wood frame without glass.
The artwork features embossed wooden squares, where the artist organizes memories like computer folders. Blending pop, neorealism, dadaism, and metaphysical styles, his "visual boxes" merge architecture, sculpture, and painting, using playful, dream-like elements to critique society and its consumerism.
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Del Pezzo Lucio
Lucio del Pezzo, after the Academy of Fine Arts in Naples in 1960, moved to Milan. Starting from the 60s, he works between Milan and Paris, where he lives in the old studio of Max Ernst. In 1961 he exhibited in the United States, winning the "Carnegie International Award". In 1964 he exhibited at the Milan Triennale and the Venice Biennale, wherein in 1966, he was invited to a private room with Gillo Dorfles.
The first works of Lucio del Pezzo have seen the Popular Neapolitan culture merge with informal and neodadaist experiences. Subsequently turned to the realization of neometaphysical sculptures in which geometric shapes are flanked by enigmatic, mythical-ritual references, with attention to pop language. In 1977 he finally returned to Milan. He also entered the work of set designer, while in 1984, he was assigned to him the chair of "experimental research on the painting" to the new Academy of Fine Arts in Milan.
In Naples (2001) he performed four large ceramic reliefs and a bronze sculpture for two metro stations. At the same time, he has organized an anthological exhibition at the Castel dell'Ovo. The elements that make up the art of Lucio Del Pezzo are objects, that is, small wooden sculptures, which he distributes on the surface of the work that is generally a table.
These objects are a solid representation of the artist's cultural memories and interests or the fruit of your knowledge: for example, the sphere and the circle are symbols of perfection, the triangle is the flat representation of the number three, the defined number perfect from the Pythagorean school of the I first century ahead Christ, the axonometric figures are a reference to his Passion for drawing. Naturally, not all signs are easy to understand for which it is useless to dwell because not all that any artist spreads on the canvas can be explained, perhaps not even by the author.
In 1966 he joined the masters of Astattism and Italian Concretism, Eugenio Carmi, to the experience of the cooperative of the deposit of Boccadasse, where he holds a personal exhibition. In the same year, an intimate room is dedicated to the XXXIII Biennale of Venice, and the piece begins to obtain numerous awards in the international artistic framework.
In the seventies, he collaborates as a graph with the Olivetti company and the Renault Italia automotive group. In 1970 Arturo Carlo Quintavalle took care of an important anthological dedicated to the artist at the Motor Show of the Pilotta di Parma, followed, in 1974, from a retrospective to the Rotonda di Via Besana in Milan cured by Guido dance.
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