Lorenzo Vignoli

Works

Lorenzo Vignoli exhibits in our gallery since 2016.

[...] The aesthetic economy of today's world causes a redefinition of beauty that is both cumbersome and uncomfortable. Understood not as a temporary assertion prone like all things, a cupio dissolvi, but rather as the presumption of duration of the residual portion of provocation and of meaning. The instinctive choice of marble, a traditional material par excellence, contributed greatly in narrowing the focus of work by Lorenzo Vignoli; for Vignoli the search for a dialogue and relationship with the material is first and foremost. A sculptor is not a spectator, and the gradual emergence of the work is akin to performance art in which "recognition" and expression are two competing forces. Vignoli's is the synthesis of the school of Canova, which sees sculpture as a three- dimensional extension of the reduced plastic potential of drawing, and that of Michelangelo, which approaches material with a more open mind, with more questions than answers, trying to find images within the marble which mirror our ability to find something in reality that reflects us. Sculpture is never, except in a derogatory sense, mimesis or an imitation of our world. The amount of naturalism within an artist's production is measured by the awareness that, contrary to the act of painting, a creation ex nihilo, in this case we are dealing with forms trapped inside other forms. One of the characteristics of Vignoli's work is the quest for a type of "ecology of tension" toward the form, which seems to me a type of respect in the face of a too obvious and loud result, a step backward which preserves the triangulation of dialogue and intention between the piece itself, the artist, and the observer who might be able to capitalize on the sculptor's own creative intuitive reserve. But this is not merely an invitation to imaginatively finish the work, or to sand down the unfinished portion with our imagination. There's something different and bigger inside; a feeling of time which has to do with the idea that a specific relationship should not necessarily "end" with a definitive result, but rather as with all things human remain "open". [...] text taken from "Lorenzo Vignoli" by Andrea Dusio 

Lorenzo Vignoli was born in Italy in 1981.

Lorenzo Vignoli has a great sensitivity that leads him to face the material, the marble, with depth of feeling, he is a great artist who has collaborated with many great sculptors: Tony Cragg, Wim Delvoyes, Bred Haw.

Many works have already been commissioned:

Commission and realization in monumental marble for the Cathedral of Milan for the Artist Tony Cragg

Commission and realization of three public monuments  for urban furniture for three  municipalities of Garfagnana: Villa Collemandina, Minucciano and Gramolazzo

Commission and realization of public monument, urban furniture for the city of Bihac,Bosnia.

Private commission from architect John Coote, for the construction of two commemorative bas-reliefs.

Commission for a sculpture for a private house in Malibu Los Angeles USA

Commission for a big murals for the Catholic mission Lucchese in the churches of Nyarurema Rwanda Africa.

Commission for a Sculture  Symposium of a public fountain for the city of Ma'alot Israel

[…] The aesthetic economy of today's world causes a redefinition of beauty that is both cumbersome and uncomfortable. Understood not as a temporary assertion prone like all things, a cupio dissolvi, but rather as the presumption of duration of the residual portion of provocation and of meaning.

The instinctive choice of marble, a traditional material par excellence, contributed greatly in narrowing the focus of work by Lorenzo Vignoli; for Vignoli the search for a dialogue and relationship with the material is first and foremost. A sculptor is not a spectator, and the gradual emergence of the work is akin to performance art in which "recognition" and expression are two competing forces. Vignoli's is the synthesis of the school of Canova, which sees sculpture as a three- dimensional extension of the reduced plastic potential of drawing, and that of Michelangelo, which approaches material with a more open mind, with more questions than answers, trying to find images within the marble which mirror our ability to find something in reality that reflects us. Sculpture is never, except in a derogatory sense, mimesis or an imitation of our world. The amount of naturalism within an artist's production is measured by the awareness that, contrary to the act of painting, a creation ex nihilo, in this case we are dealing with forms trapped inside other forms. One of the characteristics of Vignoli's work is the quest for a type of "ecology of tension” toward the form, which seems to me a type of respect in the face of a too obvious and loud result, a step backward which preserves the triangulation of dialogue and intention between the piece itself, the artist, and the observer who might be able to capitalize on the sculptor's own creative intuitive reserve. But this is not merely an invitation to imaginatively finish the work, or to sand down the unfinished portion with our imagination. There's something different and bigger inside; a feeling of time which has to do with the idea that a specific relationship should not necessarily “end” with a definitive result, but rather as with all things human remain “open”. […]

text taken from "Lorenzo Vignoli" by Andrea Dusio