China su Carta (Tredici immagini), 1966
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“The form is the result of a necessity: I set myself a programme and with this I had to come up against a form that was not foreseen and that was created gradually as I got deeper into the necessities, the hypothetical function of the building. A hypothetical building of a hypothetical city of a hypothetical society, but in which I believe. Believing for me means the desire to move in a given direction.”
Consagra’s work is not weighed down by a burdensome historical legacy. In his pursuit of this hypothetical ‘Frontal City’, associations with the grand tradition of metaphysical Romanticism recede to reveal a powerful abstraction, one that derives its strength from its intense conceptual tension. Its overlapping planes are neither smooth nor volumetric, the sculptures to establish a spiritual dialogue in the observer and a synchronic perception of the object itself.