My works allude to natural phenomena, in a raw state, devoid of the limiting constrictions of literal representation. Nature is there, as a landscape, a view looking up in the air, or plunging down underwater. Imagery kept on the edge of recognition, so the final association is created in the mind.
Contrasts of matter, color, light, are created to provoke emotional responses. In the large paintings the atmospheric composition is built by raised brushstrokes shattered and reassembled to reveal an underlying struggle. In the smaller works paper is cast tumultuously as a counterpoint to its inherent frailness.
Ruggero Vanni’s work cannot be labeled under the name of any school or style, and yet bears the distinctive marks of artists and artistic schools throughout history. Major influences come from the Venetian School of the Late Renaissance (Tintoretto, Veronese) and Late Baroque (Tiepolo, Piazzetta), as well as from the Luminist artists of the Hudson School (Bierstadt, Church).
Vanni’s work is figurative, in the sense that it depicts a three-dimensional space, but it is also non-representational, avoiding any form that could be clearly recognizable.
His paintings are characterized by a definite contrast between light and darkness. In the light to mid tone areas there is a strong emphasis on the interplay of colors. In the darker areas several layers of glazing (transparent colors diluted in varnishes) help create the impression of depth.
Though Vanni has produced works that greatly varies in size, his vision is fully represented by his largest paintings. In these works his interest for architecture and its relationship with art becomes more evident. Colors and matter produce illusory tridimensional spaces that are meant to create a transition between the reality of the space where the work is shown and the imaginary of the viewer’s mind.