Lorenzo Vignoli exhibited at Galleria Gagliardi from 2016 to 2017.
[...] The aesthetic economy of today's world causes a redefinition of beauty that is both cumbersome and uncomfortable. Understood not as a temporary assertion prone like all things, a cupio dissolvi, but rather as the presumption of duration of the residual portion of provocation and of meaning. The instinctive choice of marble, a traditional material par excellence, contributed greatly in narrowing the focus of work by Lorenzo Vignoli; for Vignoli the search for a dialogue and relationship with the material is first and foremost. A sculptor is not a spectator, and the gradual emergence of the work is akin to performance art in which "recognition" and expression are two competing forces. Vignoli's is the synthesis of the school of Canova, which sees sculpture as a three- dimensional extension of the reduced plastic potential of drawing, and that of Michelangelo, which approaches material with a more open mind, with more questions than answers, trying to find images within the marble which mirror our ability to find something in reality that reflects us. Sculpture is never, except in a derogatory sense, mimesis or an imitation of our world. The amount of naturalism within an artist's production is measured by the awareness that, contrary to the act of painting, a creation ex nihilo, in this case we are dealing with forms trapped inside other forms. One of the characteristics of Vignoli's work is the quest for a type of "ecology of tension" toward the form, which seems to me a type of respect in the face of a too obvious and loud result, a step backward which preserves the triangulation of dialogue and intention between the piece itself, the artist, and the observer who might be able to capitalize on the sculptor's own creative intuitive reserve. But this is not merely an invitation to imaginatively finish the work, or to sand down the unfinished portion with our imagination. There's something different and bigger inside; a feeling of time which has to do with the idea that a specific relationship should not necessarily "end" with a definitive result, but rather as with all things human remain "open". [...] text taken from "Lorenzo Vignoli" by Andrea Dusio
Lorenzo Vignoli was born in Italy in 1981.
Lorenzo Vignoli has a great sensitivity that leads him to face the material, the marble, with depth of feeling, he is a great artist who has collaborated with many great sculptors: Tony Cragg, Wim Delvoyes, Bred Haw.
Many works have already been commissioned:
Commission and realization in monumental marble for the Cathedral of Milan for the Artist Tony Cragg
Commission and realization of three public monuments for urban furniture for three municipalities of Garfagnana: Villa Collemandina, Minucciano and Gramolazzo
Commission and realization of public monument, urban furniture for the city of Bihac,Bosnia.
Private commission from architect John Coote, for the construction of two commemorative bas-reliefs.
Commission for a sculpture for a private house in Malibu Los Angeles USA
Commission for a big murals for the Catholic mission Lucchese in the churches of Nyarurema Rwanda Africa.
Commission for a Sculture Symposium of a public fountain for the city of Ma'alot Israel
[…] The aesthetic economy of today's world causes a redefinition of beauty that is both cumbersome and uncomfortable. Understood not as a temporary assertion prone like all things, a cupio dissolvi, but rather as the presumption of duration of the residual portion of provocation and of meaning.
The instinctive choice of marble, a traditional material par excellence, contributed greatly in narrowing the focus of work by Lorenzo Vignoli; for Vignoli the search for a dialogue and relationship with the material is first and foremost. A sculptor is not a spectator, and the gradual emergence of the work is akin to performance art in which "recognition" and expression are two competing forces. Vignoli's is the synthesis of the school of Canova, which sees sculpture as a three- dimensional extension of the reduced plastic potential of drawing, and that of Michelangelo, which approaches material with a more open mind, with more questions than answers, trying to find images within the marble which mirror our ability to find something in reality that reflects us. Sculpture is never, except in a derogatory sense, mimesis or an imitation of our world. The amount of naturalism within an artist's production is measured by the awareness that, contrary to the act of painting, a creation ex nihilo, in this case we are dealing with forms trapped inside other forms. One of the characteristics of Vignoli's work is the quest for a type of "ecology of tension” toward the form, which seems to me a type of respect in the face of a too obvious and loud result, a step backward which preserves the triangulation of dialogue and intention between the piece itself, the artist, and the observer who might be able to capitalize on the sculptor's own creative intuitive reserve. But this is not merely an invitation to imaginatively finish the work, or to sand down the unfinished portion with our imagination. There's something different and bigger inside; a feeling of time which has to do with the idea that a specific relationship should not necessarily “end” with a definitive result, but rather as with all things human remain “open”. […]
text taken from "Lorenzo Vignoli" by Andrea Dusio
2015 Mostra Collettiva presso Galleria “Open One” Pietrasanta, italia.
2015 Mostra personale presso la Galleria “La linea” Biella, Italia.
2014 Commissione e realizzazione in marmo opera monumentale per il duomo di Milano per l’artista Tony Cragg.
2013-2014 Commissione e realizzazione di tre monumenti pubblici di arredo urbano per i seguenti comuni della Garfagnana: Villacollemandina , Minucciano e Gramolazzo
2013 Commissione e Realizazione opera monumentale in marmo per l’artista Wim del Voy.
2012 - 2013 Svolge come docente di scultura , presso il Polo tecnologico “Garfagnana Innovazione”,
un corso professionale della durata di 1900 ore sulla lavorazione Lapidea e Lignea.
2013 Mostra personale presso il complesso alberghiero “Renaissance” Marriot Hotel, Ciocco ,Barga Lucca.
Mostra collettiva con la pittrice Caterina Sbrana ,presso la galleria “Laboratorio 21” Viareggio Lucca .
Mostra personale presso la galleria “Ex Marmi” Pietrasanta Lucca.
2011 Mostra collettiva con lo scultore Filippo Dobrilla, presso la galleria “Dondolando arte” Parma , Martignana di Pò.
2010 Commissione e Realizzazione di monumento pubblico ,arredo urbano per la città di Bihac Bosnia.
Commissione e Realizzazione di monumento pubblico,arredo urbano per il Comune di Capannori nella località di Segromigno.
2009 Mostra collettiva con il pittore Bosniaco Tarik Berber presso la galleria “Galleria Ex Marmi” Pietrasanta Lucca.
2008 Mostra collettiva “the Roommates” condivisioni urbane ,presso la galleria “Salamata” Venezia.
2007 Mostra personale ,presso la Galleria “Arianna Sartori” Mantova esposizione dei lavori degli anni dell ‘accademia.
Partecipa al16°simposio di scultura a Maalot Israele ,dal titolo “Il Giorno dopo”,dedicato alla fine del conflitto Israelo Libanese.
2001/2006 Frequenta e Lavora presso vari studi artigianali di scultura a Carrara “Arco Arte “ “Gualtieri”e “Gemelli”
2005 Commissione privata per l’architetto Jhon Coote ,per la realizzazione di due bassorilievi commemorativi .
2004 Commissione privata per Elisa Velanschi Malibù Los Angeles USA ,scultura di arredo per piscina .
2003 Mostra collettiva di scultura e pittura presso lo studio personale dell’ artista Bred Haw Malibù Los Angels USA.
2002 Affresco realizzazione di affresco parietale dedicato alla musica nella villa di “Bell Mount Trees” Cork Irlanda con la partecipazione dell’ architetto Jhon Coote.
2001/2002 Workshop sull’ arte applicata presso l’artista Cristina Baraldi Parigi Francia.
2000 Murales per la missione cattolica Lucchese nelle chiese di Nyarurema Rwanda Africa.
1999 Corso Intensivo di Pittura presso la scuola d’arte “the Art Institute”Chicago USA.
1996/1999 Corso di Pittura supplementare presso il pittore Antonio Vignocchi Lucca .
1997 Corso di Pittura intensivo presso la scuola D’arte “Saint Martin School” Londra Gran bretagna.