STATEMENT


Our memory stores the emotions and dreams that become the building bricks of our work. They are the essence of what surrounds us, an understanding of the universal rhythms of nature: a tree, a rock, a splash of paint, a procession of ants - they follow the rules of gravity, dynamics, attraction, repulsion - we create images that represent a more intimate way to look at reality - if we follow the universal laws that drive planets, emotions, visions, remembrances reassembled in different ways guided by associations caused by our inner self, different from the original building stone, but intimately connected to them.

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Our memory stores the emotions and dreams that become the building bricks of our work. They are the essence of what surrounds us, an understanding of the universal rhythms of nature: a tree, a rock, a splash of paint, a procession of ants - they follow the rules of gravity, dynamics, attraction, repulsion - we create images that represent a more intimate way to look at reality - if we follow the universal laws that drive planets, emotions, visions, remembrances reassembled in different ways guided by associations caused by our inner self, different from the original building stone, but intimately connected to them.

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ARTWORKS


Gian Berto Vanni’s work is characterized by an ambiguity of interpretation expressed through spatial, temporal, formal, and iconological contradictions. For him, these represent a reflection of real life, with realities that are extremely different from each other and which relate to different and yet equally valid systems of logic. Memory is the point of decantation, where past and present coexist, making all sorts of formulations possible.

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Gian Berto Vanni’s work is characterized by an ambiguity of interpretation expressed through spatial, temporal, formal, and iconological contradictions. For him, these represent a reflection of real life, with realities that are extremely different from each other and which relate to different and yet equally valid systems of logic. Memory is the point of decantation, where past and present coexist, making all sorts of formulations possible.

His canvases express this multiplicity, in their macroscopic and microscopic elements, which are plumbed, dissected and reassembled into metamorphic structures. Agates become amoebas, which merge in an aquatic veil, destined to crack like parched earth. Or there might occur an opposite, generative process, whereby cells are created, like knots in wood, from accidents of the flow, and multiply invading the surrounding fields.

The field itself is often bordered by the presence of a frame as to separate the internal space of the painting from the external space. After having established this boundary, Vanni crosses it with elements from the internal space of the canvas. This intervention negates the frame’s function and overturns its meaning, to express the ambiguity of the painting’s physical limits.

Vanni thus creates situations where it is impossible to complete any logical path. This reveals an underlying subject of many of his works: the non-acceptance of reality as it appears.

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LIFE


Gian Berto Vanni was born in Rome. He studied with Vordemberge-Gildewart in Holland and color theory with Joseph Albers at Yale University in New Haven. He has been actively involved in the Italian Art scene of the 60s, moving to New York City at the end of the 70s. He has been teaching color theory at Cooper Union for 30 years.

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Gian Berto Vanni was born in Rome. He studied with Vordemberge-Gildewart in Holland and color theory with Joseph Albers at Yale University in New Haven. He has been actively involved in the Italian Art scene of the 60s, moving to New York City at the end of the 70s. He has been teaching color theory at Cooper Union for 30 years.

He currently lives and works in New York and Greece. His works have been shown in galleries in the United States, Europe and Japan.

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