A DAILY, SUSPENDED TENSION - ALDO IORI
Renzogallo’s artistic production of the last few years reveals a growing interest in the aspects of the work of art connected to space and time, in memories of ancient and far-reaching shapes, in the metaphysical rather than in the material dimension. This change of priorities – already discernible in all of his works since the “Porte” (Doors) series of the late 70’s and 80’s – is due to several factors, all intimately interconnected, prompted by new reflections and personal experiences.
First of all, a growing tendency toward the speculative dimension of his work has led Renzogallo to explore and research in depth the realms of philosophical and meditative disciplines through literature, poetry or even direct experience with people and places. As a result, the work becomes weightier through echoes of distant cultures that blend with the original strong Mediterranean roots. A constant feature of Renzogallo’s work is its demand for the viewer’s intense participation. That demand is now even sharper, as its works release, each in its own way, different suggestions, echoes of profound and archaic elements interwoven with classical ideals. The mature awareness of the artist and his proven mastery in handling composition and materials translate the irresistible and intimate need – using matter that is worked, manipulated or left as it is – to give form to something that constantly borders both what is and what unwraps within the observer’s mind (though still invisible to the eye).
In earlier works, the symbolic value and the spatial suspension of forms, as well as the combination of materials, the dominance of specific shades of colour and compositional relationships were already strong evidence of an intense search for an immaterial dimension. It was a dimension, however, that the inherent reality of the works as well as the aesthetic patterns and ideologies associated at the time with art, helped to conceal and, somehow, hide. Today, a stronger concern for the speculative dimension mentioned above, together with the precision of the gesture, the accuracy in the choice of materials and his skill in using them, as well as an evolutionary process even more harmonious than before, are all reflected in a work that is more serene as it reaches its epiphanic moment, free from needless artifices. This contrasts with contemporary trends aimed at bringing clamour to the forefront rather than silence; the artist’s position against those trends, puts him on a parallel line to the path of history where he remains strongly anchored and settled.
A second factor is Renzogallo’s approach to the historical dimension of plastic and pictorial arts. Increasingly, he resorts to elements strictly related to the essence of form-creating and ranging from antique times up to the experiences of last century’s Masters. Some elements, such as the vase and the grille, have been adopted (from the very beginning) inclusive of their successive historical meanings, as archetypes, as anthropological factors, as hinges of the relationship between full and empty spaces. The two-dimensional (or less tri-dimensional) works – that have nevertheless a strong spatial component – owe much to lessons learned from the great paintings: the chromatic choices, the way pigments are applied, the juxtaposition of the various parts or simply some iconographic suggestions or ideas that provide energy and vitality to the composition. The choice of geometric matrices, simple or compound, accompanies and takes over the rational planning stage, reaching for rules of golden proportions in syntony with past and more recent experiences (up to the last Century), including those from Klee to Burri, from architectural rationalism to post-minimalist experiences.
Further elements deserve highlighting, such as the experience acquired through the design and the realisation of works of environmental dimension, set in natural and urban settings; such as his commitment to University teaching. Both experiences have drawn him closer to the problems specific to architecture and to the reality of nature; both experiences have enriched his work with new knowledge and interests. The work of art becomes the lieu that witnesses the relationship between thought and landscape across time and its cyclical progressions.
BIOGRAPHY
Born in Rome on January 24, 1943.
He carried out artistic studies (high school and academy) with teachers such as Giuseppe Capogrossi and Giulio Turcato, Afro and Gastone Novelli.
In 1964 he won a competition for a Cultural Exchange Scholarship from the Ministry of Foreign Affairs and Public Education to be used in Spain, to continue his studies at the "San Fernando" Academy of Fine Arts in Madrid. Thiat same year he held his first solo exhibition at the "Residencia de Relaciones Culturales" in Madrid. He then moved to Barcelona where he was around many artists and intellectuals who worked in this city. Here he made his first multi-material installation at the “Jamboree” Jazz Center (18 x 2 meters). Later he moved to Paris where he studied architecture and design.
Back in Italy, Maestro Gastone Novelli presented him at the "Horseshoe" Gallery where he made his first Italian solo show in 1967. In this period he became interested in architecture and avant-garde theater.
In 1969, to create one of his theatrical works, he founded a group (Gruppo IMMAGINE) and made his debut at the BEAT 72 Theater in Rome dealing with experimental theater and combining visual arts with theatrical action. In the same year he won a competition for the teaching of Pictorial Disciplines at the Artistic High School in Latina. He will continue teaching after the 1st artistic high school in Rome until 1997.
After the theatrical experience of 1967 and 68, he focuses all his attention on the meaning of painting and space and directs his research on a minimal square mesh structure with variations in signs and minimal weights of color. His work is therefore characterized by the use of many different materials that extend from the surface into the environment. From 1976 he began to make installations.
Since 1985, the year in which it takes the name of art "RENZOGALLO", it has dealt entirely with large sculptures, installations and large environmental works in which heterogeneous components such as rice paper, clay, wood, metal mesh, glass, steel cables enter etc. In 1986, together with some artists, collectors and intellectuals, he founded the “ARCO DI RAB” Gallery in Rome.
He has created various Public Works in Italy and abroad. His work takes place in many countries where, generally, he realizes his works with local workers and directs workshops and lectures. Works by him are present in various Italian and foreign museums.
From 2005 and 2006 he was Professor of "Forms and Structures of Space", owner of the laboratory "Ornamental and Artistic Plastics", in the Faculty of Architecture of Valle Giulia of the LA SAPIENZA University of Rome.
From 2006 and 2007, 2008 he is Professor of Artistic Design for the Environment and Landscape at the Degree Course in ENVIRONMENTAL DESIGN AND MANAGEMENT of the Faculty of Architecture of the Valle Giulia of SAPIENZA and the Faculty of Agriculture of the University of Tuscia.
In 2006 he was invited by the University of Thessaloniki (Greece) as Speaker and PRINCIPAL SPEAKER in an international conference on "TRANSPARENCY" in Art and Architecture. He will continue teaching at the Faculty of Architecture in the PhD until 2017.
In 2008 he was appointed member of the jury for the CHACO International Environmental Sculpture Award in the city of Resistencia in Argentina and invited to lecture on his work at the National Academy of Buenos Aires.
In the same year he went to Tokyo for a conference at the Italian Cultural Institute where he presented one of his speeches entitled: "Art as a construction of meaning". From 2007 until today she has held the Course of FORMS OF ART IN FORMS OF ARCHITECTURE in the Master of Preparation and Design of Components which is held annually in the Faculty of Architecture of the LA SAPIENZA University.
From 2010 to 2017 he was an expert in the teaching staff of the Research Doctorate in Environmental and Landscape Design of the Department of Architecture and Design of the University of Rome La SAPIENZA.
In 2013 and 2014 Pietro Vannucci was called by the Academy of Fine Arts of Perugia for clear fame as holder of the Biennium of specialization in the Painting laboratory.
His artistic production is also realized with a considerable exhibition activity in Italian and foreign art galleries and museums, conferences, work-shops. He realizes numerous public works in Italy and in various European countries.
In addition to Italian, he is fluent in Spanish and French. He lives and works in Rome and Umbria.
