| |
|
| Sandro Lorenzini |
| |
)
|
SANDRO LORENZINI
1948, Savona, Italy
“Sandro Lorenzini started out as a scenery designer from the Academy of Fine Arts in Brera. The exogenous contribution to ceramic art by Lorenzini has its source in the long theatrical activity that he continued until 1975 and his interest in some of the neofigurative trends emerging in Italy around the beginning of the eighties. Lorenzini’s ceramic sculpture returned to figurative forms which had been abandoned and neglected, preferring the icons of an archaic style with strong symbolic implications. Arturo Martini, Fausto Melotti and Transavanguardia are only a few of his influences. The works spring from a fertile imagination, suspended between dreams and nightmares that are hoping for a confrontation between urban and historical spaces. Among the many site specific pieces, using a knowledgeable and calculated affinity with the natural and artificial environment and a theatrical play of light, the spectator and the compositions find themselves involved in a kind of worryng role-play.”
Franco Bertoni, International Museum of Ceramic in Faenza, 2007
 |
| |
| 关于此艺术家 |
“About Lightness”
by Sandro Lorenzini
Art is able to give a beautiful shape to every human thought.
The sensory perception is attracted by beauty, capable to recognize it, while the mind knows how to go back from perceptions to the first idea, which is the origin of the Art event.
This capability to go back to the origin of phenomena is one of the most amazing faculties of intelligence.
Among the categories which mankind can define and in which Art can recognize itself, there is one at the same time simple and rare, clean and precious, genuine and clear. It is lightness.
What I name “suspended compositions” are art objects inhabiting the lightness land, rising and taking shape from considerations about lightness, beauty and truth.
In our world everything that has a weight ineluctably tends to fall down, pressing on a vertical axis, standing the weight on the ground or upon the static volume of an inert pedestal.
Inevitably sculpture belongs since the beginning to the category of weight: because of the materials of which sculpture is made (stone, marble, metal, clay) and because it is made to “stay” it is forced to inhabit a kind of preformed, immutable space, where the occasions of creating astonishment are clipped by foregone postures and placements.
The choice of the lightness field implies a drastic change of placement parameters, both physical and literary.
Wonder and astonishment are formidable instruments to activate mechanisms of acquaintance and recognition, engendering questions about the how and the why and rousing curiosities about the eternal mistery of art.
An object with a beautyful shape, which inhabits the space in an unexpected way, dipped into it, “suspended” in a physical, metaphorical, temporal and philosophical way, can be a tremendous generator of wonder.
Then sculpture, even before announcing its attributes in terms of volume and armony, material and colour, symbol and narration, declares itself as a phenomenon belonging to “lightness”.
A sphere, a cone are beautyful by themselves.
The abstract perfection of these primary shapes signifies the absoluteness of the perfect aesthetic values and natural armony of geometry.
This goes also for all those geometric secondary shapes created by the translation in the space of the primary ones (cones and spheres, therefore) along geometric guidelines (straight, crooked, curved lines).
All these primary and secondary geometric shapes have very strong semantic meanings in our imagination, just because they are visual manifestations of the absolute values they contain.
Mankind unconsciously seeks narrative identifications in pure shapes: then a sphere becomes the sun, a cone the mountain, a crooked line the lightning, a sinusoid the wave.
The semantic identity suggested by the shape takes the same absolute value of it: shape and semantic meaning merge into a symbol.
The image becomes an icon.
Infinite shapes are possible: if I get away from geometrical generation, operating autograph creative choices, I get into a mass of other icons, seeking for a more direct, morphological, metaphorical narration.
My choice then falls on innumerable possible archetypes: the hand, the fish, the flame, the cloud, the flower and so.
It is exciting to prepare many repeated and repeatable modules and set up a corpus of possible letters of a universal alphabet made of iconic shapes and write words with it, or words to write verses, or notes to write melodies: it is the sublime time when the creativity forces the language to choose.
The long, accurate work to prepare the modules, the conscious choice of the clays and glazes, the attention given to every single piece find the creative goal in the composition of a definite image made of some shapes different and similar, opposite and corresponding, dissonant and consonant.
Here, then, my “compositions”.
Suspended, if I let them live in the lightness, fluctuating in an ethereal space, standing on the vertical line of a simple wire.
|
| |
| 按此以放大图像 (假如你已上传更大的图像) |
| |
Suspended composition
2007
stoneware 1250°C, glazes, gold
cm 96x33x13
|
|
The suspended composition is a modular ceramic art work intended as unique and original piece.
The suspension is the condition which let the volumes to appear in their harmony, purity and lightness.
The absence of a pedestal shows the sculptural piece in the best possible way, narrating its trueness and beauty .
|
Suspended composition
2007
stoneware 1250°C, glazes, gold
cm 91x19x14
|
|
| |
Suspended composition
2007
stoneware 1250°C, glazes, gold
cm 67x32x18
|
|
|
Suspended composition
2007
stoneware 1250°C, glazes, gold
cm 91x32x13
|
|
| |
Suspended composition
2007
stoneware 1250°C, glazes, gold
cm 78x39x13
|
|
| |
Suspended composition
2007
stoneware 1250°C, glazes, gold
cm 91x15x15
|
|
| |
Suspended composition
2007
stoneware 1250°C, glazes, gold
cm 90x23x15
|
|
| |
Suspended composition
2007
stoneware 1250°C, glazes, gold
cm 93x20x15
|
|
| |
Suspended composition
2007
stoneware 1250°C, glazes, gold
cm 80x26x11
|
|
| |
Suspended composition
2007
stoneware 1250°C, glazes, gold
cm 96x24x14
|
|
| |
Suspended composition
2007
stoneware 1250°C, glazes, gold
cm 97x48x14
|
|
| |
Suspended composition
2007
stoneware 1250°C, glazes, gold
cm 65x40x14
|
|
| |
Suspended composition
2007
stoneware 1250°C, glazes, gold
cm 83x35x14
|
|
| |
Suspended composition
2007
stoneware 1250°C, glazes, gold
cm 96x21x15
|
|
| |
Suspended composition
2007
stoneware 1250°C, glazes, gold
cm 82x40x13
|
|
| |
Suspended composition
2007
stoneware 1250°C, glazes, gold
cm 110x50x15
|
|
| |
Suspended composition
2007
stoneware 1250°C, glazes, gold
cm 93x30x15
|
|
| |
Suspended composition
2007
stoneware 1250°C, glazes, gold
cm84x38x15
|
|
| |
Suspended composition
2007
stoneware 1250°C, glazes, gold
cm 95x42x15
|
|
| |
Suspended compositions
2007
|
|
2008,Italian Contemporary Art, Sharjah, Al Qasba, UAE
|
| |
| 教育程度与个人自传 |
SANDRO LORENZINI
Savona, Italy, April 20th, 1948
After the education in scenery-design attended at the Academy of Fine Arts of Brera, Milan, Sandro Lorenzini worked as a scenery designer in the theatres of Milan until 1975.
After this period he exclusively worked as a sculptor, using ceramic, so ductile and expressive, as a perfect media to make art.
In 1984 he went to the United States, invited by Peter Voulkos, to work on a sculptural ceramic project at Berkeley University
He was also involved in a didactic artistic activity at California State University, San José.
Starting from 1986 he experimented the installation of large ceramic sculpture works in peculiar architectural and historical spaces, working on specific themes (1986 “Courses” Savona-Italy, 1991 “The House of Asterion” Padova-Italy, 1996 “The House of the King” Caserta-Italy, 1999 “Between Disperate and Sublime” Faenza-Italy, 2000 “Space Regained” Roccavignale-Italy, 2007 “Concreta:The room of the rooms” Certaldo-Italy).
His showing activity was remarkable, since the eighties, in Italy as in USA, Europe (France, Germany) and Asia (China, Japan).
He partecipated in man solo and group exhibitions and international events; he got prestigious commissions all over the world, rowing over different materials like ceramic, wood, glass, steel, stone, bronze.
He reached several awards in international contests.
Important works of his were collected from the early Nineties by international major museums, as Mino, Shigaraki, Toki, Seto and Gifu Museum in Japan.
More recently he worked for long periods in primary experimental centers, like the Shigaraki Ceramic Cultural Park doing both didactic and artistic activity.
AWARDS
1978, 6th International Biennale of Contemporary Ceramics, Vallauris, France
1981, 39th Faenza Contest, Faenza, Italy
1992, 16th International Exhibition, of Ceramics, S.Stefano di Camastra, Italy
1998, 16th International Biennale of Contemporary Ceramics, Vallauris, France
1998, 5th International Ceramic Competition, Mino, Japan
2002, 6th International Ceramic Competition, Mino, Japan
2002, 6th Biennale for Ceramics, Cairo, Egypt
MUSEUMS
Shiwan Ceramic Museum, Guandong, China
Mino Museum of Modern Ceramic Art, Gifu, Japan
Shigaraki Ceramic Cultural Park, Shigaraki, Japan
Museum of Modern Ceramic Art, Toki, Japan
Seto City Cultural Center, Aichi, Japan
Ceramic Museum, Cairo, Egypt
Royal Palace, Caserta, Italy
Museum of Ceramics, S.Stefano di Camastra, Italy
Giuseppe Mazzotti Museum, Albisola, Italy
International Museum of Ceramics, Faenza, Italy
|
| |
|
网站: www.sandrolorenzini.it |
| |
| 如果你有兴趣联络此位艺术家, 请按此 |
按此 传送此个人档案给你的朋友 |
| |
|
|
版权所有 2003-2009 © The Saatchi Gallery : 伦敦当代艺术画廊 :
网页索引
|
| |
)
)
)
)
)
)
)
)
)
)
)
)
)
)
)
)
)
)
)
)
)
下一位艺术家
回到上面
)
)
)