The artistic practice of Emanuele Ravagnani is based on a heterogeneous union of creative techniques and processes that bring together paint, installation and photography in artistic outcomes resulting from research based on conflicting elements, such as formless and mimesis.
“Its interest stems from the vision of art as an exercise, pure art, without purpose and which does not necessarily have links with history, topicality, and mankind.
In this sense, the practice of the artist, characterised by early-primary gestures and signs, but at the same time controlled, favours shapes and lines that arise from a chaotic matter stemming from the overlap of layers and colours, which allows us to see links with numerology, language and structures associated with evanescent architectures.
And here paintings and collages, where the weight of the paper layers is a tangible sign of gestuality and a major time-making process, are marked by the sharply introspective nature of numbers, letters, notes and drawings.
These elements can become visible in the material magma that characterises the artist’s works, precisely because of their extreme lightness and definition, but also because of the game of strong contrast with colour, almost always on the tones of black and white, telling in silence stories that take shape in the minds of those who observe them.
This universe made by painting, assembling materials, collages and photographs, in which the sign plays the role of binder between conflicting elements, allows Ravagnani to give a physical return to the essence of the artist’s work, its pure creation”.
Il quadro è arginato da una cornice atta a circoscrivere la nascita e il movimento di complessi segni stratificati sempre in divenire.
“La tensione progettuale delle forme come incise nella forte densità bicromatica dello sfondo si estende in una caotica e criptica connessione con il linguaggio e la numerologia, incitando lo sguardo alla ricerca di misteriose relazioni tra i segni, nel tentativo di svelare il messaggio della visione. L’attitudine mentale del rebus trova terreno fertile nella composizione degli elementi sulla superficie, formalmente costruita come un’irriverente pagina dadaista supportata da un enigmatico piano progettuale”.
Andrea B.Del Guercio – “Big Size ART” – Milan