With Nebulosa, Vanni pares his compositional language to its essential oppositions. Gone are the checkerboard ruptures and graphic scaffolding of earlier works. In their place, he sets two distinct forces into quiet tension: broad chromatic expanses and intricate linear clusters. The central fields of lavenders, slate blues, and muted ochres, cool, atmospheric, and unmodulated, evoke vast, drifting planes, while the zones that divide them are densely worked with tiny angular forms, like embankments or sedimented energy. These edge-like formations recall fragments of a shattered grid, swarming along compositional seams and delineating the boundaries between chromatic expanses.
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With Nebulosa, Vanni pares his compositional language to its essential oppositions. Gone are the checkerboard ruptures and graphic scaffolding of earlier works. In their place, he sets two distinct forces into quiet tension: broad chromatic expanses and intricate linear clusters. The central fields of lavenders, slate blues, and muted ochres, cool, atmospheric, and unmodulated, evoke vast, drifting planes, while the zones that divide them are densely worked with tiny angular forms, like embankments or sedimented energy. These edge-like formations recall fragments of a shattered grid, swarming along compositional seams and delineating the boundaries between chromatic expanses.
This structure marks a return to the spatial logic of the prismatic-crystalline paintings, yet in a more distilled, contemplative form. What was once faceted and pulsing now appears slow and suspended, as if observed through a translucent membrane. The checkerboard passages have vanished, leaving only two principal forces at play: diffused color and linear tension. Like a nebula, the painting hovers between dissolution and form, stillness and charge. The surface breathes, simultaneously veiled and precise, as if caught in the act of becoming.
The color fields do not assert volume; instead, they suggest presence through stillness. Between them, the narrow bands of tightly packed geometry act as thresholds or boundaries, transitional zones where energy accumulates before being released. In Nebulosa, Vanni begins to shift from internal vibration toward meditative clarity. The painting does not resolve its oppositions, but holds them in balance, like a suspended breath between form and formlessness.
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