Pietro Consagra

Inventario n. 2. Acciaio e Ottone – Triangolo, 1967

Brass, steel

102 x 98 x 0.5 cm

Edition size: 3


Interested in purchasing this work?

Enquire

Additional Information

Accompanied by a certificate of authenticity.

We offer collectors a range of shipping options including a variety of specialist art couriers.
Please allow four to six weeks for the artwork to arrive after purchase.

Artwork
Description

Following Consagra’s rejection of mathematical perfection and straight angles, here the viewer is presented with an imperfect ‘triangle’. If one closed one’s eyes and squinted at it, the rough outline of the shape might indeed appear as the three-sided shape. However looking closely, the curves are apparent as is the lack of hard-edged angles necessary for it to be deemed such a shape.

Created in Consagra’s characteristic style, the artist liberated sculpture from the burdens of historical legacy, as the flattened structure abandons a traditional authoritarian centre vs. periphery dichotomy in favour of an outlook which is more frontal, encouraging a dialogue between work and viewer.

Consagra’s abstract sculptures are characterised by the emphasis of the frontal using an innovative reduction to a single point of view. These works occupy a different space, one which is related to the viewer’s imagination. Thus, Consagra’s art brings forth the possibility for a stimulated, non-imposed dialogue between viewer and artwork.

About
the artist

Pietro Consagra (b.1920-d.2005) was one of Italy’s most renowned post-war sculptors whose work rejected the tradition of three-dimensional sculpture to embrace a more direct mode of interaction between art and audience.

Born in Mazara del Vallo in Trapani (Sicily), he studied at the Accademia di Belle Arti in Palermo before founding the ‘Forma I’ group in 1947 in Rome, a formalist and Marxist collective which rejected the popular metaphysical romanticism and distortion of the time. Exhibiting at various galleries in Italy and taking part in the Venice Biennale eleven times between 1950 and 1993, Consagra enjoyed international acclaim, including exhibitions at the Peggy Guggenheim collection, Venice, the Centre Pompidou in Paris and the Tate Gallery in London.

Primarily interested in liberating sculpture from the burdens of any historical legacy, Pietro Consagra worked in bronze and iron to create sculptures that were flattened and almost two-dimensional. In this way, he disposed of a normative authoritarian centre in favour of a frontal outlook that established a far more open ‘tete-a-tete’ between work and viewer. For Consagra, “placement became meaning”; his works used abstraction to expose meaning that would otherwise never have been revealed. From 1952, he established the ‘Colloqui’ series, a collection of bronze sculptures that were defined by the plasticity of their flattened surface: overlapping planes, gaps and varying texture destabilised any semblance of a ‘conventional’ viewpoint.

In the sixties, colour became an essential element of Pietro Consagra's sculpture. His ‘Transparent Irons’ series saw monochrome works of pink, violet, blue and crimson take on the issues of a frontal perspective by becoming mobile, rotating at the touch of a hand. Ultimately, the curving fragments and defiant colours of Consagra’s works were the most vital part of his rejection of traditional sculptural canons. In the words of the artist: “Art is the only way to keep oneself suspicious, susceptible, nervous, intolerant, evasive, enthusiastic, balanced, unbalanced, attentive, aggressive, lazy, imaginative, libidinous, free, ungraspable.” The tension that arises from these contradictions is what makes Pietro Consagra's works retain a psychological power for the audience to engage with.


 

In the words of the artist:Art is the only way to keep oneself suspicious, susceptible, nervous, intolerant, evasive, enthusiastic, balanced, unbalanced, attentive, aggressive, lazy, imaginative, libidinous, free, ungraspable.


Pietro Consagra
on Artuner

Part of the
exhibition

September 26th, 2017 until
January 10th, 2018
Curated by ARTUNER