With A mezz’aria [In Mid-Air], Vanni develops a compositional grammar in which small geometric nuclei press against the surrounding field like bursts of latent force. These constellations of color, pixelated, luminous, precise, do not simply sit atop the gray expanse, but appear to pinch and stretch it, as if the canvas were a taut surface responding to inner pressure. The result is an atmosphere of suspension, where elements seem to float weightless yet tethered by invisible vectors of energy.
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With A mezz’aria [In Mid-Air], Vanni develops a compositional grammar in which small geometric nuclei press against the surrounding field like bursts of latent force. These constellations of color, pixelated, luminous, precise, do not simply sit atop the gray expanse, but appear to pinch and stretch it, as if the canvas were a taut surface responding to inner pressure. The result is an atmosphere of suspension, where elements seem to float weightless yet tethered by invisible vectors of energy.
This dynamic system builds on the logic of the Studi per forme galleggianti drawings, where Vanni explored the boundary line not as a divider, but as a spatial event. Transferred to canvas, this principle becomes visible in the way the color field yields around the central forms, altering hue and texture with subtle variation.
The Euclidean clarity of the composition, anchored by horizon, symmetry, and internal axes, lends the work a sense of cosmic architecture. It evokes not a sky, but a mental space: charged, silent, and meticulously balanced. What might at first glance suggest a celestial vision gradually reveals itself as an inquiry into structure, pressure, and the unseen tension between form and void.
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