Franco Grignani

Acquistato dall'attuale proprietario direttamente dall'artista nel 1990 circa

Chicago, Container Corporation of America, Vision 65, 1965
Reggio Emilia, Sala comunale delle esposizioni Isolato S. Rocco, Franco Grignani pitture sperimentali e graphic design, 1979, n. 109, illustrato
Sesto San Giovanni, Rondottanta, Franco Grignani pitture sperimentali e graphic design. Ricerca come arte, 1980, n. 109, illustrato

This work is in generally good overall condition. There are traces of stable craquelure by the thickest areas in the white pigment, towards the left edge, to the center of the right margin and towards the center of the painting by the stretcher. Under UV light scattered darker refraction are visible, which are inherent to the artist technique. A professional condition report is available upon request.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
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Incastro tra struttura e colore n.29 si erge a manifesto e icona del fare arte di Franco Grignani, artista-scienziato alla costante ricerca di una forma auto-generantesi, presenza individuale che rifiuta la giustapposizione di unità elementari.
Ricercatore poliedrico, architetto di formazione e artista di vocazione, lavora in bilico tra il design e l’arte in senso stretto: mosso da un’indole razionale e pragmatica, è in grado di sovvertire il rigore geometrico e la sistematicità delle leggi visive per svelare la presenza fisica dell’irrazionale, dell’assurdo. In questa ricerca del paradosso, che termina quasi sempre nell’ordinato nonsense delle scatole cinesi, del problema nel problema, Franco Grignani propone un viaggio nell’oblio della coscienza umana, attraverso un’arte che tenta strenuamente di costruire, di migliorare.
In questo capolavoro del ’65, Grignani propone una sorta di rielaborazione di una delle sue forme più celebri, il simbolo della Pura lana vergine, Woolmark, stendardo della poetica Gestalt e risultato ambiguo di una ricerca a metà strada tra storia e tecnica, rigore e caoticità. Costruito secondo lo scorrere fluido del bianco e del nero, lo “stemma” diventa icona, totem colorato che smorza il rigore optical del primo piano e scherza con lo spettatore.

Joint between structure and colour, n. 29, can be held as the icon of Grignani’s way of creating art, Grignani an artist-scientist constantly searches for a form that self generates itself, a sort of individual presence that rejects the juxtaposition of elementary units.
Grignani, being a polyhedric researcher studied architecture and worked as an artist for vocation, his work perfectly lies in between art and design: he is moved by a rational and pragmatic nature and is capable of changing geometric rigour and the systemic rules of visual laws in order to reveal the physical presence of the irrational and the absurd. In this search for paradox, that most of the times ends up in a well ordered nonsense like the problem within the problem, Franco Grignani proposes a trip inside human conscience, through an art that he strenuously tries to build and improve .
In this masterpiece executed in 1965, Grignani proposes a sort of new elaboration of one of the best known shapes, the symbol of pure wool, Woolmark, flag of the Gestalt poetic and ambiguous result of a research made between history and technique, rigour and chaos. Built on the flow of black and white, this flag turns into an icon, a coloured totem that softens the optical rigour of the frame while playing with the audience.