Massimo Arrighi
Massimo Arrighi, is an Italian painter born in 1957. In his artworks we find monochrome and two-tone canvases and each time the pigment on the acrylic – be it red, white or black combined with gold – tells of that specific attention to color that many artists have nurtured with intensity, sometimes almost like an obsession.
In his two-color artworks we see that they are divided by a vertical line, the second by a diagonal. And so in his canvases blue and silver, black and gold confront each other, and the artist is not obliged to renounce the play between the eight colors into which his philosophy is condensed. In this way, Arrighi has notably expanded his field of possibilities.
In his artworks he has used main eight colors, the primaries red, blue, yellow, then silver, gold, graphite (grey), and the “non-colors” black and white, arrive at a material abstraction, with many folds and layers on the on the canvas that recall the universe conceived by Leibniz (“wavy”, as Gilles Deleuze wrote in The fold. Leibniz and the Baroque, Einaudi)
Massimo Arrighi has had many national and international exhibitions from 1990 up to now.
Using painting as a language and a tool for communication and representation, I could not ignore the importance of using the colors. However my interest is also the material in which it is composed, a painting that seeks its own meanings even in material and monochrome with natural pigments. The technical and conceptual basis of my painting is made up of eight colors: white, black, blue, red and yellow as the fundamentals, with which could obtain infinite tonal derivations, which I use the original while maintain the potential pairing option but unexpressed. Same principle for the choice of materials such as graphite, gold and silver which, although they have no chromatic relationship with the colors previously mentioned, they are used with the same criterion of original purity. Of course, my approach to painting is not naturalistic, but rather a geological investigation of materials, I mean, because of the choice of materials and the structure of the work, a morphological stratification is completely evident, may be not very clear but objectively detectable. So not a work of quotation, but an essence of color and structure that does not have undergone the action of time, although aware of bringing an inevitable series of historical, scientific and aesthetic suggestions within the minimal structure of the work. Even the materials such as silver and gold, which are known for their use and assumption, in my work have their claim to assume values of absolute origin contemplating aspects of it that by contrast, as happens in the works which are in duotone, reinforce the dimensions of golden light combined with deep black and livid silver brightness with the unstable darkness of blue. The possible combinations, using the eight colors mentioned initially, they have the affirmation of light and shadow intrinsic to the color and material in their matching, as a molecular composition of mystical transcendence. *From the book " I colori di Massimo Arrighi" written and curated by Gérard-Georges Lemaire
Artist: Massimo Arrighi
Dimensions: 150cm x 150cm
Year: 2015
Frame: Unframed
Technique: Pigment on Canvas
Using painting as a language and a tool for communication and representation, I could not ignore the importance of using the colors. However my interest is also the material in which it is composed, a painting that seeks its own meanings even in material and monochrome with natural pigments. The technical and conceptual basis of my painting is made up of eight colors: white, black, blue, red and yellow as the fundamentals, with which could obtain infinite tonal derivations, which I use the original while maintain the potential pairing option but unexpressed. Same principle for the choice of materials such as graphite, gold and silver which, although they have no chromatic relationship with the colors previously mentioned, they are used with the same criterion of original purity. Of course, my approach to painting is not naturalistic, but rather a geological investigation of materials, I mean, because of the choice of materials and the structure of the work, a morphological stratification is completely evident, may be not very clear but objectively detectable. So not a work of quotation, but an essence of color and structure that does not have undergone the action of time, although aware of bringing an inevitable series of historical, scientific and aesthetic suggestions within the minimal structure of the work. Even the materials such as silver and gold, which are known for their use and assumption, in my work have their claim to assume values of absolute origin contemplating aspects of it that by contrast, as happens in the works which are in duotone, reinforce the dimensions of golden light combined with deep black and livid silver brightness with the unstable darkness of blue. The possible combinations, using the eight colors mentioned initially, they have the affirmation of light and shadow intrinsic to the color and material in their matching, as a molecular composition of mystical transcendence. *From the book " I colori di Massimo Arrighi" written and curated by Gérard-Georges Lemaire.
Artist: Massimo Arrighi
Dimensions: 150cm x 150cm
Year: 2011
Frame: Unframed
Technique: Pigment on Canvas
Using painting as a language and a tool for communication and representation, I could not ignore the importance of using the colors. However my interest is also the material in which it is composed, a painting that seeks its own meanings even in material and monochrome with natural pigments. The technical and conceptual basis of my painting is made up of eight colors: white, black, blue, red and yellow as the fundamentals, with which could obtain infinite tonal derivations, which I use the original while maintain the potential pairing option but unexpressed. Same principle for the choice of materials such as graphite, gold and silver which, although they have no chromatic relationship with the colors previously mentioned, they are used with the same criterion of original purity. Of course, my approach to painting is not naturalistic, but rather a geological investigation of materials, I mean, because of the choice of materials and the structure of the work, a morphological stratification is completely evident, may be not very clear but objectively detectable. So not a work of quotation, but an essence of color and structure that does not have undergone the action of time, although aware of bringing an inevitable series of historical, scientific and aesthetic suggestions within the minimal structure of the work. Even the materials such as silver and gold, which are known for their use and assumption, in my work have their claim to assume values of absolute origin contemplating aspects of it that by contrast, as happens in the works which are in duotone, reinforce the dimensions of golden light combined with deep black and livid silver brightness with the unstable darkness of blue. The possible combinations, using the eight colors mentioned initially, they have the affirmation of light and shadow intrinsic to the color and material in their matching, as a molecular composition of mystical transcendence. *From the book " I colori di Massimo Arrighi" written and curated by Gérard-Georges Lemaire.
Artist: Massimo Arrighi
Dimensions: 100cm x 100cm
Year: 2002
Frame: Unframed
Technique: Graphite on Canvas
Using painting as a language and a tool for communication and representation, I could not ignore the importance of using the colors. However my interest is also the material in which it is composed, a painting that seeks its own meanings even in material and monochrome with natural pigments. The technical and conceptual basis of my painting is made up of eight colors: white, black, blue, red and yellow as the fundamentals, with which could obtain infinite tonal derivations, which I use the original while maintain the potential pairing option but unexpressed. Same principle for the choice of materials such as graphite, gold and silver which, although they have no chromatic relationship with the colors previously mentioned, they are used with the same criterion of original purity. Of course, my approach to painting is not naturalistic, but rather a geological investigation of materials, I mean, because of the choice of materials and the structure of the work, a morphological stratification is completely evident, may be not very clear but objectively detectable. So not a work of quotation, but an essence of color and structure that does not have undergone the action of time, although aware of bringing an inevitable series of historical, scientific and aesthetic suggestions within the minimal structure of the work. Even the materials such as silver and gold, which are known for their use and assumption, in my work have their claim to assume values of absolute origin contemplating aspects of it that by contrast, as happens in the works which are in duotone, reinforce the dimensions of golden light combined with deep black and livid silver brightness with the unstable darkness of blue. The possible combinations, using the eight colors mentioned initially, they have the affirmation of light and shadow intrinsic to the color and material in their matching, as a molecular composition of mystical transcendence. *From the book " I colori di Massimo Arrighi" written and curated by Gérard-Georges Lemaire.
Artist: Massimo Arrighi
Dimensions: 100cm x 100cm
Year: 2009
Frame: Unframed
Technique: Graphite on Canvas
Using painting as a language and a tool for communication and representation, I could not ignore the importance of using the colors. However my interest is also the material in which it is composed, a painting that seeks its own meanings even in material and monochrome with natural pigments. The technical and conceptual basis of my painting is made up of eight colors: white, black, blue, red and yellow as the fundamentals, with which could obtain infinite tonal derivations, which I use the original while maintain the potential pairing option but unexpressed. Same principle for the choice of materials such as graphite, gold and silver which, although they have no chromatic relationship with the colors previously mentioned, they are used with the same criterion of original purity. Of course, my approach to painting is not naturalistic, but rather a geological investigation of materials, I mean, because of the choice of materials and the structure of the work, a morphological stratification is completely evident, may be not very clear but objectively detectable. So not a work of quotation, but an essence of color and structure that does not have undergone the action of time, although aware of bringing an inevitable series of historical, scientific and aesthetic suggestions within the minimal structure of the work. Even the materials such as silver and gold, which are known for their use and assumption, in my work have their claim to assume values of absolute origin contemplating aspects of it that by contrast, as happens in the works which are in duotone, reinforce the dimensions of golden light combined with deep black and livid silver brightness with the unstable darkness of blue. The possible combinations, using the eight colors mentioned initially, they have the affirmation of light and shadow intrinsic to the color and material in their matching, as a molecular composition of mystical transcendence. *From the book " I colori di Massimo Arrighi" written and curated by Gérard-Georges Lemaire.
Artist: Massimo Arrighi
Dimensions: 150cm x 150cm
Year: 2014
Frame: Unframed
Technique: Pigment on Canvas
Using painting as a language and a tool for communication and representation, I could not ignore the importance of using the colors. However my interest is also the material in which it is composed, a painting that seeks its own meanings even in material and monochrome with natural pigments. The technical and conceptual basis of my painting is made up of eight colors: white, black, blue, red and yellow as the fundamentals, with which could obtain infinite tonal derivations, which I use the original while maintain the potential pairing option but unexpressed. Same principle for the choice of materials such as graphite, gold and silver which, although they have no chromatic relationship with the colors previously mentioned, they are used with the same criterion of original purity. Of course, my approach to painting is not naturalistic, but rather a geological investigation of materials, I mean, because of the choice of materials and the structure of the work, a morphological stratification is completely evident, may be not very clear but objectively detectable. So not a work of quotation, but an essence of color and structure that does not have undergone the action of time, although aware of bringing an inevitable series of historical, scientific and aesthetic suggestions within the minimal structure of the work. Even the materials such as silver and gold, which are known for their use and assumption, in my work have their claim to assume values of absolute origin contemplating aspects of it that by contrast, as happens in the works which are in duotone, reinforce the dimensions of golden light combined with deep black and livid silver brightness with the unstable darkness of blue. The possible combinations, using the eight colors mentioned initially, they have the affirmation of light and shadow intrinsic to the color and material in their matching, as a molecular composition of mystical transcendence. *From the book " I colori di Massimo Arrighi" written and curated by Gérard-Georges Lemaire.
Artist: Massimo Arrighi
Dimensions: 50cm x 150cm
Year: 2003
Frame: Unframed
Technique: Pigment on Canvas
Using painting as a language and a tool for communication and representation, I could not ignore the importance of using the colors. However my interest is also the material in which it is composed, a painting that seeks its own meanings even in material and monochrome with natural pigments. The technical and conceptual basis of my painting is made up of eight colors: white, black, blue, red and yellow as the fundamentals, with which could obtain infinite tonal derivations, which I use the original while maintain the potential pairing option but unexpressed. Same principle for the choice of materials such as graphite, gold and silver which, although they have no chromatic relationship with the colors previously mentioned, they are used with the same criterion of original purity. Of course, my approach to painting is not naturalistic, but rather a geological investigation of materials, I mean, because of the choice of materials and the structure of the work, a morphological stratification is completely evident, may be not very clear but objectively detectable. So not a work of quotation, but an essence of color and structure that does not have undergone the action of time, although aware of bringing an inevitable series of historical, scientific and aesthetic suggestions within the minimal structure of the work. Even the materials such as silver and gold, which are known for their use and assumption, in my work have their claim to assume values of absolute origin contemplating aspects of it that by contrast, as happens in the works which are in duotone, reinforce the dimensions of golden light combined with deep black and livid silver brightness with the unstable darkness of blue. The possible combinations, using the eight colors mentioned initially, they have the affirmation of light and shadow intrinsic to the color and material in their matching, as a molecular composition of mystical transcendence. *From the book " I colori di Massimo Arrighi" written and curated by Gérard-Georges Lemaire.
Artist: Massimo Arrighi
Dimensions: 150cm x 150cm
Year: 2010
Frame: Unframed
Technique: Pigment on Canvas
Using painting as a language and a tool for communication and representation, I could not ignore the importance of using the colors. However my interest is also the material in which it is composed, a painting that seeks its own meanings even in material and monochrome with natural pigments. The technical and conceptual basis of my painting is made up of eight colors: white, black, blue, red and yellow as the fundamentals, with which could obtain infinite tonal derivations, which I use the original while maintain the potential pairing option but unexpressed. Same principle for the choice of materials such as graphite, gold and silver which, although they have no chromatic relationship with the colors previously mentioned, they are used with the same criterion of original purity. Of course, my approach to painting is not naturalistic, but rather a geological investigation of materials, I mean, because of the choice of materials and the structure of the work, a morphological stratification is completely evident, may be not very clear but objectively detectable. So not a work of quotation, but an essence of color and structure that does not have undergone the action of time, although aware of bringing an inevitable series of historical, scientific and aesthetic suggestions within the minimal structure of the work. Even the materials such as silver and gold, which are known for their use and assumption, in my work have their claim to assume values of absolute origin contemplating aspects of it that by contrast, as happens in the works which are in duotone, reinforce the dimensions of golden light combined with deep black and livid silver brightness with the unstable darkness of blue. The possible combinations, using the eight colors mentioned initially, they have the affirmation of light and shadow intrinsic to the color and material in their matching, as a molecular composition of mystical transcendence. *From the book " I colori di Massimo Arrighi" written and curated by Gérard-Georges Lemaire.
Artist: Massimo Arrighi
Dimensions: 50cm x 150cm
Year: 2011
Frame: Unframed
Technique: Pigment on Canvas