With Giuochi di spazio [Spatial Games], Vanni brings to culmination a period of intense formal experimentation, distilling the tensions of earlier works into a more symmetrical, almost meditative architecture. The composition is anchored by a central hourglass-like form, flanked by faceted blue and green fields that press inward with calibrated pressure. Unlike the tilted precariousness of Construction in the Balance, here the opposing forces find a momentary truce.
...more
With Giuochi di spazio [Spatial Games], Vanni brings to culmination a period of intense formal experimentation, distilling the tensions of earlier works into a more symmetrical, almost meditative architecture. The composition is anchored by a central hourglass-like form, flanked by faceted blue and green fields that press inward with calibrated pressure. Unlike the tilted precariousness of Construction in the Balance, here the opposing forces find a momentary truce.
Vanni continues to mine the optical logic of Op Art, but with an unorthodox goal: not perceptual agitation, but spatial poise. The gradients of blue, ranging from pale to saturated, create a visual slope that draws the viewer into depth, while flares of chartreuse and black provide rhythmic interruptions. These color relationships, at once restrained and precise, reflect Vanni’s evolving interpretation of Albersian color theory. Rather than isolating hue and value for pedagogical clarity, he uses them as relational forces that inflect structure and suggest atmospheric shifts.
Throughout, micro-patterns of checkerboard and pixelated flecks evoke distant energy fields, echoing Klee’s poetic notations or Kandinsky’s geometries, but translated into Vanni’s resolutely physical idiom. Giuochi di spazio signals a point of convergence, where abstraction, geometry, and color are brought into a finely tuned equilibrium.
){kind=link}