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Sculpture, Stone on Marble
Size: 13 W x 67.7 H x 13 D in
Ships in a Crate
1703 Views
36
Featured in the Catalog
Artist featured in a collection
This sculpture originates from the condensation cycle sculptures and dispersion of matter, but it is disposed slightly to intent and for the use of the materials. My new sculpture cycle can be defined by me "organic Sculpture" and in this new line of sculptures converge ideas and techniques used in past cycles of sculpture but reinforce the hybridization of materials and styles and for ' intent to percorere the lines of nature and genesis of the universe, nature, and therefore of life, in the belief that nothing can be more evocative of creation, although with the desired transformations and interpretations. In this case the work "Memory of the tree (organic)" consists of an archaeological find from a distant future in which on another galaxy or on a space station an artist with the materials available to him tries to interpret the scriptures in he received in an attempt to give a picture of a tree, an existing plant to be thousands of years before on planet earth has been destroyed.
2016
Stone on Marble
One-of-a-kind Artwork
13 W x 67.7 H x 13 D in
Not Framed
Not applicable
Ships in a Crate
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Italy.
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Michele Rizzi is an Italian artist born in Turin in 1971 (he currently lives near Turin Italy) best known for sculptures "Condensation and dispersion of matter." Sculptures made with steel, wire and iron mesh, which enhance the feeling of discontinuity of matter (solids and voids). If the sculpture of the past was essentially remove excess material, this kind of sculpture is to score the material at the points established and well-measured quantity. Regarding the forms, are prevalent human figures, organic and vegetal figures (real, abstract or fantasy). who suffer from the most different influences ranging from the ancient Minoan art and African (athletic and Thin figures) to the sculptures of the last century by A. Giacometti to the latest figures pseudo alien or humanity of the future. The incompleteness and deficiencies are the added value of these jobs from which flows the perpetual fascination of the ruins and archaeological remains. The artist likes to think of the sculptures as in archaeological findings received from the distant futureand therefore at the same time have a double aesthetic value: archaic and futuristic . The heroism and courage of facing life or just living is a recurring theme in these works as well as the simple contemplation, inordinate and disproportionate individual (humanity) in the presence of the universe, time and space. He recently started a cycle of sculptures with the main material being transparent resin and vegetables and materials present in nature. Painting by Michele Rizzi follows a seemingly distinct from the sculptures but for neighboring intent and in some cases coinciding with the work in three dimensions. His painting came to degrees from a figurative painting (fantastic landscapes future) to a more abstract representation, up to an abstraction that is influenced by the painting of Gerhard Richter (physical and mechanical work on the color pulled with wooden frames) from which it deviates by rarefaction and for the insertion of figures that give more or less distinct size, depth and meaning abstraction transforming it into abstract landscape. Both (sculpture and painting by Michele Rizzi) pursue the future in the knowledge that the future is essential from the past. A sort of hole in space-time (black hole) that enables the past and the future to come in contact generating overlapping and hybridization and an infinity of shades and consequent emotions.
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