Donna by Lorenzo Vignoli
hand carved marble + oak wood sculpture by contemporary Italian sculptor Lorenzo Vignoli
30in W x 9 inch H x 19in D
75cm W x 23cm H x 49cm D
165lb / 75kg
Lorenzo Vignoli studied Painting at Central Saint Martin's School of Art in London and Urban Landscape & Figure Drawing at Art Institute of Chicago, before embarking on years of formative travels, gathering creative inspirations in far flung places like Ruanda, Israel, Bosnia and Brazil.
Returning to his home town of Carrara, Italy, he continuously adds captivating sculptures to a large scale body of work, while occasionally collaborating on artwork commissions for various international artists, including a modern marble monument for the Cathedral of Milano.
Lorenzo Vignoli's sculptures are evocative of classical forms as much as they are influenced by modern abstract art.
Additional detail photographs and 360° video of "Pieta III" and other Lorenzo Vignoli sculptures available upon request.
Excerpt from Lorenzo Vignoli artist statement:
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”.
Excerpt from Lorenzo Vignoli exhibition catalog:
"I was born in one of the valleys of the Apuan Alps. Since I was a small child I learned to respect the mountains and absorbed their profound meaning. My mother instilled in me the sensitivity I have for the beauty of these mountains. My Father taught me to respect them.
After many years of research and study, traveling from country to country, I have realized how much these mountains meant to me. This is the reason I chose the marble from these mountains to manifest my view of life, and express my creativity. Like the roots of a tree, a sculpture is born from the earth. This forces me to look below the surface, beyond the exterior, into the layers of humus and fossils for the inspiration to realize my vision.
I come from Pietrasanta and Carrara, which are historically the two largest centers for sculpture in Italy. Thanks to the sculpting tradition that is deeply settled in my territory, I had the chance to interact with marble, bronze, ceramics plastic, resins and wood, experimenting and exploring the world of materials and the volumes, from ancient tradition to contemporary design.
I tried to grasp the sculpting tradition as a value and its essence through the centuries of transformation by the work of man trying to recover both part of a tradition, which is disappearing, as well as the contemporary elasticity, in its speed and in its ephemeral sensitivity.
My interest lies in examining the encounter of these two aspects as the meeting point of different materials that prompts me to highlight this aspect, emphasizing the point of contact, a sharp line that divides the materials, a line that divides the world of the past from the one of the future like the gap which is growing larger and larger, splitting a unique essence.
The goal of the project is to reflect on this clear separation between the past and the future which is growing vigorously, a clear-cut division between what was before and what is now in our relationship with the physicality of life. My attempt is a positive tolerance, an “atomic tolerance” I call it, between the atoms that make up the different materials, it’s a challenge for the future, it’s not only tolerance among the people but also tolerance towards the matter that people transform.
The project consists in creating and studying the space of division, as in the “gap” between the various materials while creating initially a fractured fusion of the various elements which then are successively sculpted, modeled, ripped apart. I try to experience the maximum separation between the material elements, through linear or forced processes. My final goal is to structure a dialogue between the various pieces through their own partitions, thus creating the final result of a strong and homogenous effect. I’ve been working now for some time at dividing the elements; I started this project three years ago using materials that I was closely accustomed to such as marble, wood, bronze and ceramics, but I’d like to take advantage of this process to deal with the use of other materials, but faster, experimenting the instinctive gesture of the moment creating an actual installation."