(Florence 1940–1971 Rome)
‘Intersuperficie curva-nera’, 1966, titled, signed, dated Paolo Scheggi/ 66/ Milano on the reverse, acrylic on three superimposed canvases, 80 x 60 x 5 cm, in Plexiglas box, (AR)

View this three-dimensional object in our short Video.

The work has been registered by the Associazione Paolo Scheggi, Milan, and will be included in the Catalogo Ragionato dell’ Opera di Paolo Scheggi currently being compiled by Luca Massimo Barbero.

Photo certificate:
Associazione Paolo Scheggi, Milan, archive no. APSM015/0006

Provenance:
Private Collection, Bassano del Grappa
Colossi Arte Contemporanea, Brescia
European Private Collection

Exhibition:
Chiari (Brescia), Colossi Arte Contemporanea, Paolo Scheggi. La profondità della superficie, 20 January - 8 March 2007, exh. cat., Color Art (Ed.) Rodengo Saiano (Brescia), p. 33 with ill.

Literature:
Francesca Pola, Paolo Scheggi: spazio tempo, progetto, in Titolo no. 40, Winter 2002 – 2003, p. 36 (inverted illustration); La breve e intensa stagione di Paolo Scheggi, Galleria d’Arte Niccoli, Parma, 23 November 2002 – 22 February 2003, exh. cat., Verona, Grafiche Aurora 2002, p. 176 with ill. (inverted illustration) (with texts by Luca Massimo Barbero and Gillo Dorfles)

After choosing a series of elementary geometrical figures on the basis of their combination possibilities according to simple arithmetic procedures, Scheggi cuts them out on surfaces, the shape of which is always either a square or a multiple thereof, then places them on top of each other so as to organise the forms according to visual structures and regulate their fruition on the basis of light conditions. As a result of the superimposition of two or more canvases fixed to the same object, the interplay of shadow effects created as the light passes from the first surface to the subsequent ones cause the forms to be perceived differently depending on the visual angle from which they are examined; [...] it is worth mentioning that the result achieved is an attempt to realise the potentiality of current ‘works of art’ to extend towards the exterior, for they are no longer regarded as the expression of their author’s psychological situation, but as structures of our experiences and actions.”
Germano Celant

In Scheggi’s works, the aesthetic game can expand towards unpredictable regions of both reality and myth, everyday life and metaphysics... Franco Solmi

The work has been registered by the Associazione Paolo Scheggi, Milan, and will be included in the Catalogo Ragionato dell’ Opera di Paolo Scheggi works currently being compiled by Luca Massimo Barbero.

Photo certificate:
Associazione Paolo Scheggi, Milan, archive no. APSM015/0006

Provenance:
Private Collection, Bassano del Grappa
Colossi Arte Contemporanea, Brescia
European Private Collection

Exhibition:
Chiari (Brescia), Colossi Arte Contemporanea, Paolo Scheggi. La profondità della superficie, 20 January - 8 March 2007, exh. cat., Color Art (Ed.) Rodengo Saiano (Brescia), p. 33 with ill.

Literature:
Francesca Pola, Paolo Scheggi: spazio tempo, progetto, in Titolo no. 40, Winter 2002 – 2003, p. 36 (inverted illustration); La breve e intensa stagione di Paolo Scheggi, Galleria d’Arte Niccoli, Parma, 23 November 2002 – 22 February 2003, exh. cat., Verona, Grafiche Aurora 2002, p. 176 with ill. (inverted illustration) (with texts by Luca Massimo Barbero and Gillo Dorfles)

After choosing a series of elementary geometrical figures on the basis of their combination possibilities according to simple arithmetic procedures, Scheggi cuts them out on surfaces, the shape of which is always either a square or a multiple thereof, then places them on top of each other so as to organise the forms according to visual structures and regulate their fruition on the basis of light conditions. As a result of the superimposition of two or more canvases fixed to the same object, the interplay of shadow effects created as the light passes from the first surface to the subsequent ones cause the forms to be perceived differently depending on the visual angle from which they are examined; [...] it is worth mentioning that the result achieved is an attempt to realise the potentiality of current ‘works of art’ to extend towards the exterior, for they are no longer regarded as the expression of their author’s psychological situation, but as structures of our experiences and actions.”
Germano Celant

In Scheggi’s works, the aesthetic game can expand towards unpredictable regions of both reality and myth, everyday life and metaphysics... Franco Solmi