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拍品专文
Paolo Scheggi created Intersuperficie curva around 1963-1964, and the work presents the viewer with the multi-layered paint surface customary in his greatest works. Here, oval openings have been created within the shaped surface of the blue picture; through these holes, other openings are visible, through which is more blue canvas. This is a monochrome, recalling the works of Yves Klein, Lucio Fontana and Piero Manzoni which had burst onto the avant garde scene less than a decade earlier.
One of the watersheds of that explosion of the monochrome was Yves Klein's exhibition at the Galleria Apollinaire in Milan in 1957, Proposte monocrome, epoca blue. Perhaps Scheggi's choice of the blue that saturates Intersuperficie curva was a tribute to that great pioneer. However, by allowing the surface to be pierced and reconfigured, lending it a depth through the various layers which become visible through the openings, Scheggi has created a work that is a riposte to the emphasis on the flat surface of Klein's works. Rather than Klein's mystical zone of shimmering blue, intended to absorb the viewer, Scheggi has created a perforated canvas that really does have three-dimensional, rather than immaterial, depth: it draws the viewer's gaze into it. This results in an emphasis on materiality, rather than the Immateriality embraced by Klein.
At the same time, one of the key protagonists in this painting is light, which casts complex shadows through the similar outer loops, as the inner surfaces are arranged in different ways. Various eclipses appear to be taking place within these ellipses, an effect that is accentuated by the seeming logic of the progression of holes in the surface below: in the leftmost hole, the opening through to the third layer is at the bottom, then a little higher, and on the right it is nearer the top, moving upwards. The central hole serves as a 'control', contrasting with the others, as only one layer is really visible underneath, allowing for a crisper use of the shadow circumference while also providing a central focal point.
Intersuperficie curva was created during a period when Scheggi was gaining increasing international recognition. It was in 1965 that he had his first international show, and within a short time he had been involved in projects and exhibitions in a number of countries. Promoted by the artist Lucio Fontana and the critic Gillo Dorfles alike, Scheggi's works such as Intersuperficie curva managed to straddle the conceptual and the aesthetic. He was dismantling traditional painting while creating works that nonetheless appear stylish, recalling the aesthetic regularity and order of Op Art.
One of the watersheds of that explosion of the monochrome was Yves Klein's exhibition at the Galleria Apollinaire in Milan in 1957, Proposte monocrome, epoca blue. Perhaps Scheggi's choice of the blue that saturates Intersuperficie curva was a tribute to that great pioneer. However, by allowing the surface to be pierced and reconfigured, lending it a depth through the various layers which become visible through the openings, Scheggi has created a work that is a riposte to the emphasis on the flat surface of Klein's works. Rather than Klein's mystical zone of shimmering blue, intended to absorb the viewer, Scheggi has created a perforated canvas that really does have three-dimensional, rather than immaterial, depth: it draws the viewer's gaze into it. This results in an emphasis on materiality, rather than the Immateriality embraced by Klein.
At the same time, one of the key protagonists in this painting is light, which casts complex shadows through the similar outer loops, as the inner surfaces are arranged in different ways. Various eclipses appear to be taking place within these ellipses, an effect that is accentuated by the seeming logic of the progression of holes in the surface below: in the leftmost hole, the opening through to the third layer is at the bottom, then a little higher, and on the right it is nearer the top, moving upwards. The central hole serves as a 'control', contrasting with the others, as only one layer is really visible underneath, allowing for a crisper use of the shadow circumference while also providing a central focal point.
Intersuperficie curva was created during a period when Scheggi was gaining increasing international recognition. It was in 1965 that he had his first international show, and within a short time he had been involved in projects and exhibitions in a number of countries. Promoted by the artist Lucio Fontana and the critic Gillo Dorfles alike, Scheggi's works such as Intersuperficie curva managed to straddle the conceptual and the aesthetic. He was dismantling traditional painting while creating works that nonetheless appear stylish, recalling the aesthetic regularity and order of Op Art.