Come from the future Sculpture

Michele Rizzi is an Italian artist born in Turin in 1971 (he currently lives near Turin), best known for his sculptures "Condensation and Dispersion of Matter." Sculptures made of steel, wire, and wire mesh, which emphasize the sense of discontinuity in the material (full and empty spaces). While sculpture in the past essentially consisted of removing excess material, this type of sculpture involves marking the material at specific points and in carefully measured quantities. Regarding forms, human figures, organic and plant forms (real, abstract, or fantastical) predominate, reflecting a wide variety of influences, from ancient Minoan and African art (athletic and slender figures) to sculptures of the last century, to more recent pseudo-alien figures or the humanity of the future. Incompleteness and gaps are the added value of these works, which give rise to the enduring fascination of ruins and archaeological remains. The artist likes to think of his sculptures as archaeological finds from a distant future, endowed with a dual aesthetic value: archaic and futuristic. Duality and contrast are also present in the themes of his works. This time, the duality is between the micro/interior and the macro/external, between the human being's inner journey and the journey into the universe in search of the scientific and spiritual answers we have always sought. This attempt to imagine a work of the future, reaching us through a journey through time, perhaps merely seeks to provide clues to aid us in this quest and shorten the journey. He recently began a series of sculptures whose primary material is transparent resin, incorporating plant essences and various natural materials. In another subseries, the condensation of matter is achieved with river stones and steel structures. Michele Rizzi's painting follows a seemingly distinct line from his sculptures, yet shares similar intentions and, in some cases, coincides with his three-dimensional work. His painting gradually evolved from figurative painting (fantastic future landscapes) to a more abstract representation, ultimately to an abstraction influenced by Gerhard Richter's painting (physical and mechanical work on color stretched with wooden frames). He differs from Richter in his rarefaction and the inclusion of figures that give the abstraction more or less distinct dimensions, depth, and meaning, transforming it into an abstract landscape.