Past
| Piero Ruggeri. From material lacerations | |||||||||||
5 October – 4 November 2017 OPENING: Thursday 5 October 2017 at 6 p.m.
Biasutti & Biasutti Gallery is pleased to present an exhibition dedicated to the Piedmontese painter Piero Ruggeri (1930 - 2009), who after his studying at Accademia Albertina in Turin, together with Giacomo Soffiantino and Sergio Saroni, gave birth to the Informal painting, be inspired by De Staël, Bacon, De Kooning and Kline, but also by Wols, Appel and Jorn. A “naturalistic informal painting”, never betrayed or, as Angelo Mistrangelo writes in his critical text of the exhibition’s catalogue: “a re-interpreted, reconsidered, redefined naturalism with a vigorous, powerful sign”. These signs, which ripple the matter, are the real protagonists of the works. The exhibition will focus on mixed media techniques on paper and oils on canvas that will span the course of Ruggeri’s career from 1958 to 2002. “Natura morta” (1958/59) and “Figura nel paesaggio” (1959), opening the show, point out the artist’s intense relationship with Nature, with his first faint mysterious presences, characterizing his works belonging to the Sixties, as “Anna 2” (1962). The series of the Roveti (bushes), describing some places near Battagliotti, where Ruggeri lived, reveals an instant, excited painting. “Iridescenze 2” (1975) well represents this period, defined by Mistrangelo like “an alternate of tiles in a fragmentary mosaic”, together with an explosion of color in the vastness of the canvas. From the second half of the Eighties, the series of the monochroms, are characterized by the quality, the intensity and the color’s veining, as the works “Senza titolo” (1988) and “Contamine” (1989); also the titles of his following works remark definitely a chromatic reference, built primarily by the artist, and felt like a desire of immersing himself in the pictorial spaces: “Luce rossa” (1990), “Rosso rosso” (1991) and “Paesaggio nero” (1995). The matter and infinite signs are distinctive features of “La frana du lac” (2000) and “La pundrà” (2002), which chronologically close the exhibition.
Galleria Biasutti & Biasutti, | |||||||||||