Flavio Pellegrini was born in Brescia Italy in 1960.
He uses his technical training to support the artistic path.
Since 1999 he follows a research of method made of technicalities and harmonies, studies and experiments.
He replaces manual instinctive incisions, regulated by mathematical algorithms and performed technologically.
The wood is the predominant element in all his works.
The study of the eighteenth century mathematical methodologies enriches his way of interpreting the stretch.
Grooves and etchings patiently researched and regulated by algorithms alternate balancing the form and expressing themselves with the reflection of light. His own recipes harmonize the visual and tactile perceptions of the user.
He works, studies and researches in Flero Brescia Italy
Flavio Pellegrini and the perpetual motion of the form
By Giampietro Guiotto
The Flavio Pellegrini’s artistic production is configured as plasmatic research, which, in the overcoming of the traditional concept of painting and sculpture, investigates the infinite phenomenological possibilities of shapes and elemental structures.
On this foundation, the deed takes place with absolute stringency in the direct relationship between intuition and audit of an infinitesimal mathematical system; therefore on a practice primarily mental then constructive, based on the irreducible consciousness of the real and of logical scheme.
If in computer science the algorithm is a calculation procedure featured by ended number of rules and operations, in Pellegrini’s art practice the mathematical algorithms, which are plinth of his designing work, show that the inside logic, that connects plain and protruding forms, is creating only structured fields or static two-dimensional geometries, but perceptively tri-dimensional because they are shifting depending on perspective, spatiality, and light.
These moldable and abstract frameworks, made in valchromat wood and inspired by physic gyrations, intend at first as bi-dimensional monochromatic, at most two colours, geometric visions, but they become alive, with the active displacement of the viewer in the space-light in which are placed, transmuting in tridimensional visions, assuming the value of sculpture that causes a psycho -physical reaction through unstable designs.
The viewer is entering in empathy with the surfaces, to discover the intriguing and surprising behests that hold them and the endless moving dynamics: therefore art works whose space tends to be defined according to the concept of field or relational system between the parties, the result of an active dynamic of moving forces, which does not recognize the hierarchy between center and outskirts.
The artist works on a dual focus of sight: a close one, almost to investigate the microcosm, and one dilated and far away, alluding to the observation of the macrocosm.
The value of rigorous planning assumes, here, a decisive factor, because the essence of geometric shapes is represented by the inlay and the continuous repetition of a few identical elements, geometric shapes such as line, square, triangle, circle and spiral, made of mechanical equipment. The modularity then becomes a structural element, the perfect fusion of crafts and technology, grounding the possibility to endlessly search for complex geometries, transforming the visual space in a place of the mechanical rationality, in the field of pure evidence, which still attempt to defy the rules and the mathematical certainty, of which they are made of. Every visual element, that causes of a disorientation reaction, seems to be spreading endless according to the various circular or linear directions, threatening the edges of the sculpture leaving suspect an absolute spatial encroachment, outside the physical limits of itself.
The totality of the sight finds in the "Riconducimi all’origine" work, studded with light blue dots, which recall the endless sky, its emblematic representation, because the view field seems not to accept the boundary of its own borders and at the same time still managed to create a relational system between the internal parts.
the perfect work exemplification of the formalization of a macro-cosmos in the micro-cosmos is traversed by a continuous flow, which from inside expands incessantly to the outside: a calm and precise fluidity where there are no more center or periphery always accompanied by few colours monochrome and a hint of colour ,that do not prevent the formation of a condensational formal, as in the work "Rotta negata", in which the formal element of the unexpected highlights the pleasure of surprise.
the artist, who moves between forms that testify to the pleasure of infinite life, seems to explore stellar distances , ovular systems, or microscopic crevices, to get carried away by the storms of stray signs and contrails of colour powders, in which norm and chance, essence and accident, rationality and emotion can crossing and conjugate. Each of his works, based on a rational order of modules and reliefs, punctuated by the antagonist game of shadows and lights, become the image of indissoluble "continuum" of the space-time infinity, mobile space of unexpected and indistinct, formal universe in constant motion of endless creative and design possibilities , in which the effects of tension, overlap , rotation and extension of dynamic runs that hint at un eerie certainty of the perpetual perception shift.
Muoviamoci velocemente disciplinando pensieri e coscienza.
Let’s move quickly to control thoughts and consciousness.
Entra rapidamente e abbandonati allo stupore di un interno che appare disorientato.
Come in quickly and lose yourself in the astonishment of a seemingly bewildered place.
Riuscirò ad imprigionare tutta l’energia sprigionata dal fermento di una mente.
I will succeed in imprisoning all the energy emanated from the torment of a mind.
Il movimento rapido e libero da vincoli mantiene la velocità coordinata dei pensieri.
The movement which is rapid and free preserves the coordinated velocity of thoughts.
Espanditi oltre i confini di te stesso e potrai infrangere le tue inibizioni.
Expand your being beyond yourself and you will be able to shatter your inhibitions.
Dal centro l’eccitazione li disperse, ma docilmente potrai ricondurli in spazi modulati
From the centre they were scattered by excitement, but you meekly will lead them
back in controlled spaces.
Il centro ti richiama all’origine dove tutto avrà un nuovo inizio.
The centre summons you back to where everything will have a new beginning.
L’imprevisto di una rotta negata rafforza l’euforia del fantastico viaggio.
The unexpected nature of a denied path reinforces the euphoria of a fantastic journey.
seguendo i fari guida,le interferenze fortuite del tuo navigare non ti evitarannie di immergerti nella linea prevedibile.
By following the guiding lights, the casual disturbances of your travel will not stop you from immersing yourself in the predictable trajectorys.
Black absorbs all visible light and returns a visual perception characterized by the absence of any colored sensation.
The artistic project is aimed at trespassing beyond the physical characteristics of non-color and overcoming the preconceptions attributed to black in order to express its power, elegance and expressiveness.
This absence of the color of the works has been filled with orientated and reflecting geometries on surfaces modulated by a rational discipline: mathematics integrated into artistic expression.
The technological sculpture frees the furrows, removes the material and practices the inclinations that, as reflective, destabilize the black and contaminate it making it turn on the gray scale up to the white antagonist
The wooden structure and the light are accomplices and protagonists of the project.
The energy of a storm can show you a new relaxing future.
Con cauta fermezza sottraiti a stereotipi convenzionali
You use firmness and avoiding to conventional stereotypes
Guardo senza vedere il disegno delle idee
I look without seeing the design of ideas
Scultura, luce e suono
Sculpture, light and sound
you can see the video
Expoarte Montichiari BS
11-13 maggio 19
C’è o non c’è tempo per condurre una vita espressione di bellezza, consapevolezza, incoscienza e paura?
Flavio Pellegrini ha scelto il tema “non ho tempo” per comporre 15 nuove opere.
Anche in questa produzione riconosciamo il suo modo di fare scultura basato su una progettualità assoluta, quasi estrema.
Ritroviamo non solo la ricerca della perfezione, ma l’equilibrio armonico di forme semplici rielaborate matematicamente.
Presente l’ormai consolidato, astrattismo monocromatico nero con un’unica eccezione per “il diverso”.
E come sempre, non è la bottega ad aiutarlo nella realizzazione, ma l’uso sapiente di sistemi tecnologici ed informatici.
Fonte d’ispirazione è l’ecclesiaste 3,1-15 “c’è un tempo per ogni cosa” contrapposta alla frase che sempre più spesso pronunciamo: ”Non ho tempo”.
La marcata espressività delle opere si manifesta con tematiche geometriche, a volte solo accennate altre con difficili intrecci che sembrano non finire mai. Questo metodo è stato scelto per dare una sua personale interpretazione ad un tema semplice che può evolvere in una complessa rete di ragionamenti enigmatici.
Non ho tempo è una condizione in campo fisico impossibile da realizzare, solo una valutazione filosofica la spiega: il tempo che si incontra o si contrappone alla nostra voglia di fare.
E se ci domandiamo perché questa produzione è nata in poco più di un mese riscopriamo il tema.