Ferro Trasparente Bianco, 1966
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With the advent of Pop Art, Pietro Consagra entered a period of intense self-examination, the culmination of which resulted in a key turning point in his career. With his flat, almost two-dimensional iron sculptures, he took a stand against Picasso’s metaphysical Romanticism in the name of Abstractionism, establishing a different kind of spiritual dialogue between his work and the observer through a new philosophy of surface and more extrovert artistic language.
During this time, Consagra began to work extensively with enamel paint, and the bi-frontal works for which he had become known adopted a spiral rather than square framework that promoted a synchronic perception of the object itself. For the artist, doing so fulfilled an almost moral need to free sculpture from its three-dimensional conventions. Instead, as associations with the grand tradition of classical sculpture and its authoritarian implications recede, Consagra’s works derive their power solely from the enduring conceptual tension that seemingly radiates from their multi-planar surfaces.