Our memory stores the emotions and dreams that become the building bricks of our work. They are the essence of what surrounds us, an understanding of the universal rhythms of nature: a tree, a rock, a splash of paint, a procession of ants - they follow the rules of gravity, dynamics, attraction, repulsion - we create images that represent a more intimate way to look at reality - if we follow the universal laws that drive planets, emotions, visions, remembrances reassembled in different ways guided by associations caused by our inner self, different from the original building stone, but intimately connected to them.


Italian-born Gian Berto Vanni’s paintings bridge the creative languages of modern and contemporary art. A deep connoisseur of all painting techniques, he combined precise miniature-like drawings with raw textures, and unconstrained paint flows in his work. After studying with Italian Futurist philosopher and painter Alberto Bragaglia in Rome, Italy, Vanni continued his artistic formation in Amsterdam with Neo-Plasticist Freidrich Vordemberge-Gildewart, and finally under the guidance of Joseph Albers, with whom he studied at Yale University, in New Haven. Their teaching will give Vanni the funding conceptual and visual parameters of his creative grammar, based on the contradiction of elements, the importance of abstraction, and the contrast between texture and color. In Vanni’s imagery, figurative fragments, geometrical shapes, and biomorphic forms coexist on textured and smooth surfaces defined by both bright and muted colors. Vanni wrote, “Painting is a tool to understand nature beneath appearances, disregarding the scientist’s eye and using the poet’s, in search of those mysterious rules that conduct her marvelous harmonies.”