Tommaso Dognazzi was born in Cremona on May 20, 1966.
From an early age he showed a marked and fervent interest in contemporary art, all the more fascinated by the works of the great masters of geometric abstraction of the 20th century, which he also has the privilege of meeting and frequenting (among the most important Bonalumi, Veronesi , Carmi, Perilli, Munari, Nigro, Dorazio, Alviani, Costalonga).
All this thanks to the passion of their parents, competent connoisseurs and great collectors.
The great art galleries become a constant appointment, we are in the Gotha of Italian geometric abstractionism and soon also internationally, by virtue of subsequent meetings with other extraordinary foreign artists, such as Le Parc, Demarco, Tornquist, Garcia Rossi, Morishita. It is undeniable that, precisely by living in close contact with the works of painters of this caliber, the conceptual inspiration derived from them is soon elaborated and then translated onto the canvas.
‘An artist’s technique is substantiated like a genetic code, a field of personal existence in continuous evolution. It also represents, while finding similarities and comparisons, as an element of immediate recognition, the “DNA” of a painter translated on canvas. I believe that there are different types of techniques: there is a technique proportional to the manual skill of each artist, the experimental technique, the technique derived from the use of the best materials used in the creation of the work.
My experience in the field of art convinces me that I have historically determined the concept of technique
parallel to that of research, while still in relation to the idea of ”ingenuity”.
The research of materials, woods, canvases, pigments. The search for new ideas, new concepts, new meanings to be represented in two-dimensionality. Research aimed at creating new emotions, ancient questions, future axioms, to be proposed to the public.
Each work self-certifies itself as ‘unique’, each a single field of existence, completed albeit aligned with the same philosophy of representation.
Technically, I absorbed the teachings of the great masters: Eugenio Carmi explained to me that each painting is born and develops exactly through that one experience, it is like this and it could not be different. Hugo Demarco enlightened me about the ‘weight’ and the placement of each individual color within the painting.
Agostino Bonalumi made me aware of the concept of ‘pivoting point’, stating that each work has a point that acts as a substantial fulcrum, around which the painting could ‘spin’ indefinitely, maintaining maximum balance.
The most precious advice about research on a personal level came to me from the master Franco Costalonga who, observing my latest works, encouraged me and convinced me to create on the canvas only and only the concepts that are most able to satisfy my nature and that tend to testify to the artistic significance of my works, precisely because they are exclusively children of my thought. ‘
Tommaso Dognazzi currently lives and works in Venice.
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