Alberto Biasi (Padova 1937), Visual dynamics
Relief in PVC on painted panel cm 120 x 120 signed (Alberto Biasi) on the back.
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- Convergences cinetiques: Edoer Agostini, Alberto Biasi, Horacio Garcia Rossi, Ferruccio Gard, Musée Départemental des Vosges, Epinal, 1982
Alberto Biasi first attended classical studies, then the Institute of Architecture and the higher course of Industrial Design in Venice. In the meantime he began his activity as a painter and sculptor and in 1959 he formed GROUP N with which he worked until 1967. In 1960 he exhibited with Castellani, Manzoni and European artists of the “new artistic conception”. In ’61, as co-author of GROUP N, he was among the promoters of New Trends and in ’62 among the founders of Programmed Art. In that period he collectively signed GROUP N works such as the “textures”, the “optical – dynamic” reliefs obtained by overlapping lamellar structures, the “dynamic forms” obtained by twisting, the “photoreflexions” in real movement, the “environments” in unstable perception. After the dissolution of GROUP N “he rediscovers himself as a soloist” and begins to work on changing shapes and spatiality and on harmonic movements, creating a substantial number of works entitled “polytype”.
In the seventies it combines torsion lamellar elements and parts in real movement, while around the eighties and nineties it further enriches the “polytypes” with insertions of shapes and colors with a strong figural suggestion. In recent years, by contrast between the iridescent plasticity of the mini-relief and the two-dimensionality of painting, new images live with and for those who look at them and appear evocative of a continuous evolution. The latest evolution of his work was important: in the passage of 2000 Biasi elaborated a synthesis of previous research and created “assemblages”, especially diptychs and triptychs predominantly monochromatic, with an impressive plastic and coloristic effect. The visual dynamics presented here falls within the cycle of Optical-dynamic Reliefs, the maximum expression of the definition of the sense of poetics characterizing Biasi’s artistic research in the 1960s. The works created between 1960 and 1967, on which the artist returns on several occasions even in the following years, introduce, in fact, for the first time the question of the role of the observer. These are, for the most part, works composed of two overlapping floors spaced a few centimeters apart, where the level below is generally made up of a painted table, while the one above is constructed as a pattern of strips (or strips) of PVC. The interference between the two floors creates that optical effect of movement that Biasi calls “virtual dynamism”. What happens, in fact, is that the perfectly immobile work manages to generate an impression of vibrant motility in the user. In reality, it is the spectator’s retinal and cognitive activity that builds those movements, which are precisely virtual, and not physical.