{"title":"Graziano Spinosi","description":"\u003ch5\u003e\u003cmeta charset=\"utf-8\"\u003e\u003c\/h5\u003e\n\u003ch5\u003eGraziano Spinosi was born in 1958 in Bologna (IT). He spent\u003cbr data-mce-fragment=\"1\"\u003ehis childhood in Romagna. In 1979 he held his first exhibition\u003cbr data-mce-fragment=\"1\"\u003estaff at the deconsecrated church of Santa Lucia, a\u003cbr data-mce-fragment=\"1\"\u003eBologna, seat of the University's Aula magna since 1986. In the same\u003cbr data-mce-fragment=\"1\"\u003eyear he graduated from the Academy of Fine Arts in Bologna. In the\u003cbr data-mce-fragment=\"1\"\u003ethe eighties he realizes works using acrylic resins,\u003cbr data-mce-fragment=\"1\"\u003epolyurethane, silicone and fiberglass. In 1992 he moved to\u003cbr data-mce-fragment=\"1\"\u003eRome, here begins a research that involves the use of the most varied\u003cbr data-mce-fragment=\"1\"\u003ematerials, especially poor and industrial waste. In 2004 he is one of the artists who\u003cbr data-mce-fragment=\"1\"\u003eexhibit at hypermarkets of art, at the Palazzo delle Papesse in\u003cbr data-mce-fragment=\"1\"\u003eSiena. \u003cspan\u003eHe is been teaching \u003c\/span\u003e\u003cspan\u003eat the Ravenna Academy of Fine Arts since 1994.  \u003c\/span\u003e\n\u003c\/h5\u003e","products":[{"product_id":"ana-mendieta-shoes","title":"ANA MENDIETA SHOES","description":"\u003ch5\u003e\n\u003cstrong\u003eArtist:\u003c\/strong\u003e Graziano Spinosi\u003cbr\u003e\u003cbr\u003e \u003cstrong\u003eYear\/Location:\u003c\/strong\u003e 1999 Italy\u003cbr\u003e\u003cbr\u003e \u003cstrong\u003eDimensions:\u003c\/strong\u003e Approx 40cm x 40cm \u003cbr\u003e\u003cbr\u003e\u003cstrong\u003e Sculptures:\u003c\/strong\u003e Other Media\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eMaterials:\u003c\/strong\u003e Hemp thread\u003cbr\u003e\u003cbr\u003e \u003cstrong\u003eDescription:\u003c\/strong\u003e\n\u003c\/h5\u003e\n\u003cp\u003eWatching the parade of shoes that was slowly increasing in the study of Spinosi, I had the impression of a special gear up for a trip, in which the baggage was those same shoes that you might need on the way. A journey on foot, where places are confirmed by the material of the soles and uppers, different for each location past through. I think this has been a journey of love and pain, and I am not referring only to that of the artists that accompany the shoes. These are the shoes of Spinosi. It is his love and pain of which I speak, as it is ours in the moment when we look at those shoes, immagining their life led virtually and preceiving their death in a museum display case. The rule of visual acceleration continues and at all costs shatters on that moment of stilled space time that allows the eye to communicate with the soul of man. Art often renders this possible. Raffaele Gavarro\u003c\/p\u003e","brand":"Graziano Spinosi","offers":[{"title":"Approx 40cm x 40cm","offer_id":32566043050089,"sku":"","price":18000.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0247\/7139\/5689\/products\/ANA_MENDIETA_SHOES_1999_GRANDEZZA_NATURALE_FILO_DI_CANAPA_18000_EURO.jpg?v=1593091081"},{"product_id":"george-gershwin-shoes","title":"GEORGE GERSHWIN SHOES","description":"\u003ch5\u003e\n\u003cstrong\u003eArtist:\u003c\/strong\u003e Graziano Spinosi\u003cbr\u003e\u003cbr\u003e \u003cstrong\u003eYear\/Location:\u003c\/strong\u003e 1998 Italy\u003cbr\u003e\u003cbr\u003e \u003cstrong\u003eDimensions:\u003c\/strong\u003e Approx 40cm x 40cm \u003cbr\u003e\u003cbr\u003e \u003cstrong\u003eSculptures:\u003c\/strong\u003e Other Media\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eMaterials:\u003c\/strong\u003e Brass and acrylic paste\u003cbr\u003e\u003cbr\u003e \u003cstrong\u003eDescription:\u003c\/strong\u003e\n\u003c\/h5\u003e\n\u003cp\u003eWatching the parade of shoes that was slowly increasing in the study of Spinosi, I had the impression of a special gear up for a trip, in which the baggage was those same shoes that you might need on the way. A journey on foot, where places are confirmed by the material of the soles and uppers, different for each location past through. I think this has been a journey of love and pain, and I am not referring only to that of the artists that accompany the shoes. These are the shoes of Spinosi. It is his love and pain of which I speak, as it is ours in the moment when we look at those shoes, immagining their life led virtually and preceiving their death in a museum display case. The rule of visual acceleration continues and at all costs shatters on that moment of stilled space time that allows the eye to communicate with the soul of man. Art often renders this possible. 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A journey on foot, where places are confirmed by the material of the soles and uppers, different for each location past through. I think this has been a journey of love and pain, and I am not referring only to that of the artists that accompany the shoes. These are the shoes of Spinosi. It is his love and pain of which I speak, as it is ours in the moment when we look at those shoes, immagining their life led virtually and preceiving their death in a museum display case. The rule of visual acceleration continues and at all costs shatters on that moment of stilled space time that allows the eye to communicate with the soul of man. Art often renders this possible. 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A journey on foot, where places are confirmed by the material of the soles and uppers, different for each location past through. I think this has been a journey of love and pain, and I am not referring only to that of the artists that accompany the shoes. These are the shoes of Spinosi. It is his love and pain of which I speak, as it is ours in the moment when we look at those shoes, immagining their life led virtually and preceiving their death in a museum display case. The rule of visual acceleration continues and at all costs shatters on that moment of stilled space time that allows the eye to communicate with the soul of man. Art often renders this possible. Raffaele Gavarro\u003c\/p\u003e","brand":"Graziano Spinosi","offers":[{"title":"Approx 40cm x 40cm","offer_id":32566043148393,"sku":"","price":14000.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0247\/7139\/5689\/products\/VINCENT_VAN_GOGH_SHOES_1996_GRANDEZZA_NATURALE_14000_EURO.jpg?v=1593091087"},{"product_id":"gastone-novelli-shoes","title":"GASTONE NOVELLI SHOES","description":"\u003ch5\u003e\n\u003cstrong\u003eArtist:\u003c\/strong\u003e Graziano Spinosi\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003e Year\/Location:\u003c\/strong\u003e 1994 Italy\u003cbr\u003e\u003cbr\u003e \u003cstrong\u003eDimensions:\u003c\/strong\u003e Approx 40cm x 40cm \u003cbr\u003e\u003cbr\u003e \u003cstrong\u003eSculptures:\u003c\/strong\u003e Other Media\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eMaterials: \u003c\/strong\u003eCellulose fiber\u003cbr\u003e\u003cbr\u003e \u003cstrong\u003eDescription: \u003c\/strong\u003e\n\u003c\/h5\u003e\n\u003cp\u003eWatching the parade of shoes that was slowly increasing in the study of Spinosi, I had the impression of a special gear up for a trip, in which the baggage was those same shoes that you might need on the way. A journey on foot, where places are confirmed by the material of the soles and uppers, different for each location past through. I think this has been a journey of love and pain, and I am not referring only to that of the artists that accompany the shoes. These are the shoes of Spinosi. It is his love and pain of which I speak, as it is ours in the moment when we look at those shoes, immagining their life led virtually and preceiving their death in a museum display case. The rule of visual acceleration continues and at all costs shatters on that moment of stilled space time that allows the eye to communicate with the soul of man. Art often renders this possible. Raffaele Gavarro\u003c\/p\u003e","brand":"Graziano Spinosi","offers":[{"title":"Approx 40cm x 40cm","offer_id":32566043181161,"sku":"","price":9000.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0247\/7139\/5689\/products\/GASTONE_NOVELLI_SHOES_1994_GRANDEZZA_NATURALE_FIBRA_DI_CELLULOSA_9000_EURO.jpg?v=1593091088"},{"product_id":"santa-teresa-shoes","title":"SANTA TERESA SHOES","description":"\u003ch5\u003e\n\u003cstrong\u003eArtist:\u003c\/strong\u003e Graziano Spinosi\u003cbr\u003e\u003cbr\u003e \u003cstrong\u003eYear\/Location:\u003c\/strong\u003e 1997 Italy\u003cbr\u003e\u003cbr\u003e \u003cstrong\u003eDimensions:\u003c\/strong\u003e Approx 40cm x 40cm \u003cbr\u003e\u003cbr\u003e \u003cstrong\u003eSculptures:\u003c\/strong\u003e Other Media\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eMaterials:\u003c\/strong\u003e Wrought iron\u003cbr\u003e\u003cbr\u003e \u003cstrong\u003eDescription:\u003c\/strong\u003e\n\u003c\/h5\u003e\n\u003cp\u003eWatching the parade of shoes that was slowly increasing in the study of Spinosi, I had the impression of a special gear up for a trip, in which the baggage was those same shoes that you might need on the way. A journey on foot, where places are confirmed by the material of the soles and uppers, different for each location past through. I think this has been a journey of love and pain, and I am not referring only to that of the artists that accompany the shoes. These are the shoes of Spinosi. It is his love and pain of which I speak, as it is ours in the moment when we look at those shoes, immagining their life led virtually and preceiving their death in a museum display case. The rule of visual acceleration continues and at all costs shatters on that moment of stilled space time that allows the eye to communicate with the soul of man. Art often renders this possible. Raffaele Gavarro\u003c\/p\u003e","brand":"Graziano Spinosi","offers":[{"title":"Approx 40cm x 40cm","offer_id":32566043213929,"sku":"","price":16000.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0247\/7139\/5689\/products\/SANTA_TERESA_SHOES_1997_GRANDEZZA_NATURALE_FERRO_BATTUTO_16000.jpg?v=1593091091"},{"product_id":"amadeus-mozart-shoes","title":"AMADEUS MOZART SHOES","description":"\u003ch5\u003e\n\u003cstrong\u003eArtist:\u003c\/strong\u003e Graziano Spinosi\u003cbr\u003e\u003cbr\u003e \u003cstrong\u003eYear\/Location:\u003c\/strong\u003e 1999 Italy\u003cbr\u003e\u003cbr\u003e \u003cstrong\u003eDimensions:\u003c\/strong\u003e Approx 40cm x 40cm \u003cbr\u003e\u003cbr\u003e \u003cstrong\u003eSculptures:\u003c\/strong\u003e Other Media\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eMaterials:\u003c\/strong\u003e Lacquer wood\u003cbr\u003e\u003cbr\u003e \u003cstrong\u003eDescription:\u003c\/strong\u003e\n\u003c\/h5\u003e\n\u003cp\u003eWatching the parade of shoes that was slowly increasing in the study of Spinosi, I had the impression of a special gear up for a trip, in which the baggage was those same shoes that you might need on the way. A journey on foot, where places are confirmed by the material of the soles and uppers, different for each location past through. I think this has been a journey of love and pain, and I am not referring only to that of the artists that accompany the shoes. These are the shoes of Spinosi. It is his love and pain of which I speak, as it is ours in the moment when we look at those shoes, immagining their life led virtually and preceiving their death in a museum display case. The rule of visual acceleration continues and at all costs shatters on that moment of stilled space time that allows the eye to communicate with the soul of man. Art often renders this possible. Raffaele Gavarro\u003c\/p\u003e","brand":"Graziano Spinosi","offers":[{"title":"Approx 40cm x 40cm","offer_id":32566043246697,"sku":"","price":14000.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0247\/7139\/5689\/products\/AMADEUSMOZARTSHOES-1999-TAGLIA26BIMBODI4ANNI-LEGNOLACCATO-14000_01.jpg?v=1595751394"},{"product_id":"diane-arbus-shoes","title":"DIANE ARBUS SHOES","description":"\u003ch5\u003e\n\u003cstrong\u003eArtist:\u003c\/strong\u003e Graziano Spinosi\u003cbr\u003e\u003cbr\u003e \u003cstrong\u003eYear\/Location:\u003c\/strong\u003e 1994 Italy\u003cbr\u003e\u003cbr\u003e \u003cstrong\u003eDimensions:\u003c\/strong\u003e Approx 40cm x 40cm \u003cbr\u003e\u003cbr\u003e\u003cstrong\u003e Sculptures:\u003c\/strong\u003e Other Media\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eMaterials:\u003c\/strong\u003e Iron sheet\u003c\/h5\u003e\n\u003ch5\u003e\u003cstrong\u003eDescription:\u003c\/strong\u003e\u003c\/h5\u003e\n\u003cp\u003eWatching the parade of shoes that was slowly increasing in the study of Spinosi, I had the impression of a special gear up for a trip, in which the baggage was those same shoes that you might need on the way. A journey on foot, where places are confirmed by the material of the soles and uppers, different for each location past through. I think this has been a journey of love and pain, and I am not referring only to that of the artists that accompany the shoes. These are the shoes of Spinosi. It is his love and pain of which I speak, as it is ours in the moment when we look at those shoes, immagining their life led virtually and preceiving their death in a museum display case. The rule of visual acceleration continues and at all costs shatters on that moment of stilled space time that allows the eye to communicate with the soul of man. Art often renders this possible. Raffaele Gavarro\u003c\/p\u003e","brand":"Graziano Spinosi","offers":[{"title":"Approx 40cm x 40cm","offer_id":32566043312233,"sku":"","price":16000.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0247\/7139\/5689\/products\/DIANEARBUSSHOES-1994-GRANDEZZANATURALE-LAMIERADIFERRO-16000_01.jpg?v=1595751490"},{"product_id":"antoni-tapies-shoes","title":"ANTONI TAPIES SHOES","description":"\u003ch5\u003e\n\u003cstrong\u003eArtist:\u003c\/strong\u003e Graziano Spinosi\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003e Year\/Location:\u003c\/strong\u003e 1999 Italy\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003e Dimensions:\u003c\/strong\u003e Approx 40cm x 40cm \u003cbr\u003e\u003cbr\u003e \u003cstrong\u003eSculptures:\u003c\/strong\u003e Other Media\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eMaterials:\u003c\/strong\u003e Coloured cavas\u003cbr\u003e\u003cbr\u003e \u003cstrong\u003eDescription:\u003c\/strong\u003e\n\u003c\/h5\u003e\n\u003cp\u003eWatching the parade of shoes that was slowly increasing in the study of Spinosi, I had the impression of a special gear up for a trip, in which the baggage was those same shoes that you might need on the way. A journey on foot, where places are confirmed by the material of the soles and uppers, different for each location past through. I think this has been a journey of love and pain, and I am not referring only to that of the artists that accompany the shoes. These are the shoes of Spinosi. It is his love and pain of which I speak, as it is ours in the moment when we look at those shoes, immagining their life led virtually and preceiving their death in a museum display case. The rule of visual acceleration continues and at all costs shatters on that moment of stilled space time that allows the eye to communicate with the soul of man. Art often renders this possible. Raffaele Gavarro\u003c\/p\u003e","brand":"Graziano Spinosi","offers":[{"title":"Approx 40cm x 40cm","offer_id":32566043345001,"sku":"","price":9000.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0247\/7139\/5689\/products\/ANTONI_TAPIES_SHOES_1999_GRANDEZZA_NATURALE_TELA_COLORATA_9000_EURO.jpg?v=1593091096"},{"product_id":"captain-ahab-shoes","title":"CAPTAIN AHAB SHOES","description":"\u003ch5\u003e\n\u003cstrong\u003eArtist:\u003c\/strong\u003e Graziano Spinosi\u003cbr\u003e\u003cbr\u003e \u003cstrong\u003eYear\/Location:\u003c\/strong\u003e 1996 Italy\u003cbr\u003e\u003cbr\u003e \u003cstrong\u003eDimensions:\u003c\/strong\u003e Approx 40cm x 40cm \u003cbr\u003e\u003cbr\u003e \u003cstrong\u003eSculptures:\u003c\/strong\u003e Other Media\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eMaterials:\u003c\/strong\u003e Salt and Iron \u003cbr\u003e\u003cbr\u003e \u003cstrong\u003eDescription:\u003c\/strong\u003e\n\u003c\/h5\u003e\n\u003cp\u003eWatching the parade of shoes that was slowly increasing in the study of Spinosi, I had the impression of a special gear up for a trip, in which the baggage was those same shoes that you might need on the way. A journey on foot, where places are confirmed by the material of the soles and uppers, different for each location past through. I think this has been a journey of love and pain, and I am not referring only to that of the artists that accompany the shoes. These are the shoes of Spinosi. It is his love and pain of which I speak, as it is ours in the moment when we look at those shoes, immagining their life led virtually and preceiving their death in a museum display case. The rule of visual acceleration continues and at all costs shatters on that moment of stilled space time that allows the eye to communicate with the soul of man. Art often renders this possible. Raffaele Gavarro\u003c\/p\u003e","brand":"Graziano Spinosi","offers":[{"title":"Approx 40cm x 40cm","offer_id":32566043607145,"sku":"","price":16000.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0247\/7139\/5689\/products\/CAPTAIN_AHAB_SHOES_1996_GRANDEZZA_NATURALE_SALE_E_FERRO_16000_EURO.jpg?v=1593091098"},{"product_id":"wolfgang-laib-shoes","title":"WOLFGANG LAIB-SHOES","description":"\u003ch5\u003e\n\u003cstrong\u003eArtist:\u003c\/strong\u003e Graziano Spinosi\u003cbr\u003e\u003cbr\u003e \u003cstrong\u003eYear\/Location:\u003c\/strong\u003e 1999 Italy\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003e Dimensions:\u003c\/strong\u003e Approx 40cm x 40cm \u003cbr\u003e\u003cbr\u003e \u003cstrong\u003eSculptures:\u003c\/strong\u003e Other Media\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eMaterials: \u003c\/strong\u003eBees wax\u003cbr\u003e\u003cbr\u003e \u003cstrong\u003eDescription:\u003c\/strong\u003e\n\u003c\/h5\u003e\n\u003cp\u003eWatching the parade of shoes that was slowly increasing in the study of Spinosi, I had the impression of a special gear up for a trip, in which the baggage was those same shoes that you might need on the way. A journey on foot, where places are confirmed by the material of the soles and uppers, different for each location past through. I think this has been a journey of love and pain, and I am not referring only to that of the artists that accompany the shoes. These are the shoes of Spinosi. It is his love and pain of which I speak, as it is ours in the moment when we look at those shoes, immagining their life led virtually and preceiving their death in a museum display case. The rule of visual acceleration continues and at all costs shatters on that moment of stilled space time that allows the eye to communicate with the soul of man. Art often renders this possible. 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A journey on foot, where places are confirmed by the material of the soles and uppers, different for each location past through. I think this has been a journey of love and pain, and I am not referring only to that of the artists that accompany the shoes. These are the shoes of Spinosi. It is his love and pain of which I speak, as it is ours in the moment when we look at those shoes, immagining their life led virtually and preceiving their death in a museum display case. The rule of visual acceleration continues and at all costs shatters on that moment of stilled space time that allows the eye to communicate with the soul of man. Art often renders this possible. 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One experience the same sensation in front of recent works by Graziano Spinosi. He has developed a personal language with which he transitions back and forth between two and three-dimensionality, frequently passing from one technique to the other with continuous cross-references and reciprocal explorations. Each of Spinosi’s works emphasizes absence as an indistinct, profound vertigo, the void as vital womb, with the accent on the rhythm of existence: there is no safe landing. The residence is temporary but, in any case, never becomes a den, a symptom of imprisonment. In the space, these works almost assume a sacral value, as if intended to stimulate the ability to recover an authentic dimension. The spectator can relive time and space, rhythm and energy, the conditions that have given life to the formal act of its construction. A realization that arises between the fairy-tale arc of which it feeds freely Spinosi, poetically, to create images close to the archetypes of the collective unconscious. 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One experience the same sensation in front of recent works by Graziano Spinosi. He has developed a personal language with which he transitions back and forth between two and three-dimensionality, frequently passing from one technique to the other with continuous cross-references and reciprocal explorations. Each of Spinosi’s works emphasizes absence as an indistinct, profound vertigo, the void as vital womb, with the accent on the rhythm of existence: there is no safe landing. The residence is temporary but, in any case, never becomes a den, a symptom of imprisonment. In the space, these works almost assume a sacral value, as if intended to stimulate the ability to recover an authentic dimension. The spectator can relive time and space, rhythm and energy, the conditions that have given life to the formal act of its construction. A realization that arises between the fairy-tale arc of which it feeds freely Spinosi, poetically, to create images close to the archetypes of the collective unconscious. 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One experience the same sensation in front of recent works by Graziano Spinosi. He has developed a personal language with which he transitions back and forth between two and three-dimensionality, frequently passing from one technique to the other with continuous cross-references and reciprocal explorations. Each of Spinosi’s works emphasizes absence as an indistinct, profound vertigo, the void as vital womb, with the accent on the rhythm of existence: there is no safe landing. The residence is temporary but, in any case, never becomes a den, a symptom of imprisonment. In the space, these works almost assume a sacral value, as if intended to stimulate the ability to recover an authentic dimension. The spectator can relive time and space, rhythm and energy, the conditions that have given life to the formal act of its construction. A realization that arises between the fairy-tale arc of which it feeds freely Spinosi, poetically, to create images close to the archetypes of the collective unconscious. 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One experience the same sensation in front of recent works by Graziano Spinosi. He has developed a personal language with which he transitions back and forth between two and three-dimensionality, frequently passing from one technique to the other with continuous cross-references and reciprocal explorations. Each of Spinosi’s works emphasizes absence as an indistinct, profound vertigo, the void as vital womb, with the accent on the rhythm of existence: there is no safe landing. The residence is temporary but, in any case, never becomes a den, a symptom of imprisonment. In the space, these works almost assume a sacral value, as if intended to stimulate the ability to recover an authentic dimension. The spectator can relive time and space, rhythm and energy, the conditions that have given life to the formal act of its construction. A realization that arises between the fairy-tale arc of which it feeds freely Spinosi, poetically, to create images close to the archetypes of the collective unconscious. 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One experience the same sensation in front of recent works by Graziano Spinosi. He has developed a personal language with which he transitions back and forth between two and three-dimensionality, frequently passing from one technique to the other with continuous cross-references and reciprocal explorations. Each of Spinosi’s works emphasizes absence as an indistinct, profound vertigo, the void as vital womb, with the accent on the rhythm of existence: there is no safe landing. The residence is temporary but, in any case, never becomes a den, a symptom of imprisonment. In the space, these works almost assume a sacral value, as if intended to stimulate the ability to recover an authentic dimension. The spectator can relive time and space, rhythm and energy, the conditions that have given life to the formal act of its construction. A realization that arises between the fairy-tale arc of which it feeds freely Spinosi, poetically, to create images close to the archetypes of the collective unconscious. 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One experience the same sensation in front of recent works by Graziano Spinosi. He has developed a personal language with which he transitions back and forth between two and three-dimensionality, frequently passing from one technique to the other with continuous cross-references and reciprocal explorations. Each of Spinosi’s works emphasizes absence as an indistinct, profound vertigo, the void as vital womb, with the accent on the rhythm of existence: there is no safe landing. The residence is temporary but, in any case, never becomes a den, a symptom of imprisonment. In the space, these works almost assume a sacral value, as if intended to stimulate the ability to recover an authentic dimension. The spectator can relive time and space, rhythm and energy, the conditions that have given life to the formal act of its construction. A realization that arises between the fairy-tale arc of which it feeds freely Spinosi, poetically, to create images close to the archetypes of the collective unconscious. 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One experience the same sensation in front of recent works by Graziano Spinosi. He has developed a personal language with which he transitions back and forth between two and three-dimensionality, frequently passing from one technique to the other with continuous cross-references and reciprocal explorations. Each of Spinosi’s works emphasizes absence as an indistinct, profound vertigo, the void as vital womb, with the accent on the rhythm of existence: there is no safe landing. The residence is temporary but, in any case, never becomes a den, a symptom of imprisonment. In the space, these works almost assume a sacral value, as if intended to stimulate the ability to recover an authentic dimension. The spectator can relive time and space, rhythm and energy, the conditions that have given life to the formal act of its construction. A realization that arises between the fairy-tale arc of which it feeds freely Spinosi, poetically, to create images close to the archetypes of the collective unconscious. 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One experience the same sensation in front of recent works by Graziano Spinosi. He has developed a personal language with which he transitions back and forth between two and three-dimensionality, frequently passing from one technique to the other with continuous cross-references and reciprocal explorations. Each of Spinosi’s works emphasizes absence as an indistinct, profound vertigo, the void as vital womb, with the accent on the rhythm of existence: there is no safe landing. The residence is temporary but, in any case, never becomes a den, a symptom of imprisonment. In the space, these works almost assume a sacral value, as if intended to stimulate the ability to recover an authentic dimension. The spectator can relive time and space, rhythm and energy, the conditions that have given life to the formal act of its construction. A realization that arises between the fairy-tale arc of which it feeds freely Spinosi, poetically, to create images close to the archetypes of the collective unconscious. 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One experience the same sensation in front of recent works by Graziano Spinosi. He has developed a personal language with which he transitions back and forth between two and three-dimensionality, frequently passing from one technique to the other with continuous cross-references and reciprocal explorations. Each of Spinosi’s works emphasizes absence as an indistinct, profound vertigo, the void as vital womb, with the accent on the rhythm of existence: there is no safe landing. The residence is temporary but, in any case, never becomes a den, a symptom of imprisonment. In the space, these works almost assume a sacral value, as if intended to stimulate the ability to recover an authentic dimension. The spectator can relive time and space, rhythm and energy, the conditions that have given life to the formal act of its construction. A realization that arises between the fairy-tale arc of which it feeds freely Spinosi, poetically, to create images close to the archetypes of the collective unconscious. 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One experience the same sensation in front of recent works by Graziano Spinosi. He has developed a personal language with which he transitions back and forth between two and three-dimensionality, frequently passing from one technique to the other with continuous cross-references and reciprocal explorations. Each of Spinosi’s works emphasizes absence as an indistinct, profound vertigo, the void as vital womb, with the accent on the rhythm of existence: there is no safe landing. The residence is temporary but, in any case, never becomes a den, a symptom of imprisonment. In the space, these works almost assume a sacral value, as if intended to stimulate the ability to recover an authentic dimension. The spectator can relive time and space, rhythm and energy, the conditions that have given life to the formal act of its construction. A realization that arises between the fairy-tale arc of which it feeds freely Spinosi, poetically, to create images close to the archetypes of the collective unconscious. 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Winches were used to lift the fossil pupae, and working clothes and gloves were provided with thick leather front pads, welder’s masks and cigarette. The extreme density of the steel ‘Forest’ is, however sublimated and lightened by the Cypress shape, tapered and smoky. The gaps between metal and metal, let us perceive an interior space, a cavity that allows us to imagine spying and imprisoned phantoms. And there is some truth in this suggestion, since each year one of the seven mighty mane has been colonized by communities of insects, especially wasps, which nest in hives built of iron. \u003c\/span\u003eMassimo Pulini\u003cbr\u003e\u003cmeta charset=\"utf-8\"\u003e\u003c\/p\u003e\n\u003ch5\u003e\u003cstrong\u003ePLEASE NOTE: DUE TO THE SIZE OF THIS ARTWORK SHIPPING OF THIS ARTWORK WILL BE QUOTED SEPARATELY\u003c\/strong\u003e\u003c\/h5\u003e","brand":"Graziano Spinosi","offers":[{"title":"5m x 5m","offer_id":32578413822057,"sku":"","price":260000.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0247\/7139\/5689\/products\/FORESTA_2000_ALTEZZA_5_METRI_PESO_COMPLESSIVO_30_QUINTALI_TONDINO_DI_FERRO_200000_EURO.jpg?v=1593502883"},{"product_id":"indus","title":"INDUS","description":"\u003ch5\u003e\n\u003cstrong\u003eArtist:\u003c\/strong\u003e Graziano Spinosi\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003e Year\/Location: \u003c\/strong\u003e1999 Italy\u003cbr\u003e\u003cbr\u003e \u003cstrong\u003eDimensions:\u003c\/strong\u003e 3m\u003cbr\u003e\u003cbr\u003e \u003cstrong\u003eSculptures:\u003c\/strong\u003e Mixed Techniques \u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eMaterials:\u003c\/strong\u003e Iron\u003cbr\u003e\u003cbr\u003e \u003cstrong\u003eDescription:\u003c\/strong\u003e\n\u003c\/h5\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cp\u003e\u003cspan\u003eWhile managing to evoke the filament-like and light silk cocoons for a long time, the artist has used planking of iron and cement plaster, structured in the ways of an armoured architecture with a barely penetrable cage, shaping with a cutting torch, a trowel, pincers and hammer. 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