Roberto Crippa - Untitled

Roberto Crippa's artistic research falls within the realm of Spatialist aesthetics. Born in 1946 with Lucio Fontana's Manifesto Blanco, Spatialism primarily addresses the issue of how artworks are perceived. The goal of movement is to definitively transcend the surface of the canvas for a perceptual experience that definitively engages Space. Hence, the use of electronic technical devices, used for their ability to radiate energy, or the use of gestural techniques, such as holes or cuts, to break through the surface of the work and invade it with the accidentality of reality. In Crippa's case, the work's irradiation into space occurs through the spiral or other dynamic figures that recur prominently in his pictorial output.

For Roberto Crippa, abstract figures, like this series of undulating movements, tending toward three-dimensionality, can transcend the two-dimensionality of the work and radiate energy into the very space of the viewer. The dynamism of the subject, already developed by the figure itself, is further emphasized by the pictorial layering that shapes the rest of the painting. Crippa, in fact, tends to bring out the energy radiating from the work, characterizing it with flashes of light, electrical vibrations that have much to do with the Spatialist aesthetic and its relationship with technology.

Gaetano Crippa, known as Roberto, was born in Monza in 1921 and died in Bresso in 1972. Besides being a painter and engraver, he was also known as an aviator. He began his career as a figurative artist and then moved on to a Cubism very close to Picasso. He finally found his own artistic language after embracing the Spatialist Manifesto, creating the "Spirals" cycle. Spirals are constructions that, through their circular movements, tend towards three-dimensionality and, therefore, transcend the dimension of the work, remaining in line with the principles of Spatialism.

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