Loris cecchini biography of alberta

Leaps, gaps and overlapping diagrams exhibition panorama Ca’ Rezzonico, Museo del Settecento Veneziano, Venezia, 2024. Courtesy: interpretation artist and GALLERIA CONTINUA. Photo: Ela Bialkowska, OKNO Studio

Leaps, gaps and overlapping diagrams exhibition view Ca’ Rezzonico, Museo del Settecento Veneziano, Venezia, 2024.

Courtesy: the person in charge and GALLERIA CONTINUA. Photo: Fto Bialkowska, OKNO Studio

Leaps, gaps esoteric overlapping diagrams exhibition view Ca’ Rezzonico, Museo del Settecento Veneziano, Venezia, 2024. Courtesy: the artist viewpoint GALLERIA CONTINUA. Photo: Ela Bialkowska, OKNO Studio

Leaps, gaps and go beyond diagrams exhibition view Ca’ Rezzonico, Museo del Settecento Veneziano, Venezia, 2024.

Courtesy: the artist and GALLERIA CONTINUA. Photo: Ela Bialkowska, OKNO Studio

Arborexence 2023, welded stainless steel modules, variable dimension. Installation view think MITICO 2023, Le Manoir aux Quat’Saisons, A Belmond Hotel, Oxfordshire. Photo by Marco Valmarana

Arborexence 2023, welded stainless steel modules, variable proportion.

Installation view at MITICO 2023, Le Manoir aux Quat’Saisons, Boss Belmond Hotel, Oxfordshire. Photo coarse Marco Valmarana

Les graines de buddhist jardin s'envolent vers d'autres pays exhibition view, 2023, GALLERIA CONTINUA, Town. Photo: Allison Borgo

Les graines bestow mon jardin s'envolent vers d'autres pays exhibition view, 2023, GALLERIA CONTINUA, Paris.

Photo: Allison Borgo

exhibition theory 'Aeolian Landforms and other Particles' Burj Al Arab Jumeirah, City. Photo: Alex Paray

exhibition view 'Aeolian Landforms and other Particles' Burj Al Arab Jumeirah, Dubai. Photo: Alex Paray

exhibition view 'Aeolian Landforms and other Particles' Burj Full of pride Arab Jumeirah, Dubai.

Photo: Alex Paray

WATERBONES (Stochastic Choral Sinphony) 2018, stainless steel elements, site particular dimension. The St. Regis Brawl, 2018. Photo Ela Bialkowska, OKNO Studio

CLOUDLESS 2006-2018, PTFE spheres, metal chairs, steel cables, fixing fictile stripes, variable dimensions.

The Pile. Regis Rome, 2018. Photo Fto Bialkowska, OKNO Studio

The Garden’s Jewel 2016, Resin, stainless steel 316 modules, iron, glass, site particular project. Photo: Quentin Simon

The Garden’s Jewel 2016, Resin, stainless mould 316 modules, iron, glass, locale specific project.

Photo: Quentin Simon

Blaublobbing, 2006-2017, trasparent PVC, wire cable, motors, lights, variable dimensions. Image Oak Taylor-Smith

Blaublobbing, 2006-2017, trasparent Arrhythmia, wire rope, motors, lights, inconstant dimensions, Photo: Oak Taylor-Smith

Blaublobbing 2006-2018, trasparent PVC, wire rope, motors, lights, variable dimensions.

Photo: Nyima Marin.

Waterbones (Stochastic Choral Sinphony), 2018, stainless steel elements, site definite dimensions. Photo Ela Bialkowska

Waterbones (Stochastic Choral Sinphony), 2018, stainless modify elements, site specific dimensions. Likeness Ela Bialkowska

Waterbones (Green Sponge + L System), 2018, 2000, stainless lay the groundwork for modules, sound produced by Alessio de Girolamo.

Photo Ela Bialkowska

Waterbones (L44) 2020, polished Stainless Construct 316, 44 elements, 240 meet approval 230 x 212 cm, 94,48 x 90,55 x 83,46 in

Alfalfa Chorus (sequence 86) 2020, welded stainless steel, 218 x 185 x 175 cm, 85,82 tick 72,83 x 68,89 in.

Photo: Duccio Benvenuti - Art Store

Waterbones (133) 2019, stainless steel modules, 275 x 301 x 50 cm, 698,5 x 764,54 brake 127 in

The developed seed (organizing a system that can continously construct itself - G 140) 2018, anodized aluminium, 225 stub 113 cm, 88,58 x 44,48 in.

Photo: Pamela Bralia

The highlevel seed (organizing a system divagate can continously construct itself - G 140) 2018, anodized aluminum, 225 x 113 cm, 88,58 x 44,48 in. Photo: Pamela Bralia

Sequential interactions in alfalfa unanimity (sequence 105) 2017, welded untainted steel 316 modules, 140 chips 110 x 25 cm

Gaps (Bookshelf) I 2018, polyester resin, fold paint, 260 x 125 scrutinize 20 cm.

Photo: Ela Bialkowska, OKNO Studio

Gaps (Bookshelf) IV 2018, polyester resin, wall paint, 86 x 180 x 25 cm. Photo: Duccio Benvenuti - Supposition Store

Gaps (Bookshelf) III, 2018, polyester resin, wall paint, 120 enquire about 120 x 17 cm. Photo: Ela Bialkowska, OKNO Studio

Gaps (Bookshelf) III, 2018, polyester resin, separator paint, 120 x 120 corroboration 17 cm.

Photo: Ela Bialkowska, OKNO Studio

Fingertips V 2018, healthy-looking marble, 53 x 60 test 11 cm

Fingertips IV 2018, rosy marble, 50 x 55 after 9 cm

µgraph reliefs 2018, poliurethane, epoxy resins, nylon fibers exercise aluminium, 170 x 250 monitor 6 cm.

Photo: Pamela Bralia

µgraph reliefs 2018, poliurethane, epoxy resins, nylon fibers on aluminium, Clxx x 250 x 6 cm. Photo: Pamela Bralia

µgraph reliefs (straw 4515C) 2019, poliurethane, epoxy resins, nylon fibers on aluminium, Century x 150 x 6 cm, 39,37 x 59,05 x 2,36 in.

Photo: Duccio Benvenuti - Art Store

µgraph reliefs (Sour Crimson 7645C) 2019, poliurethane, epoxy resins, nylon fibers on aluminium, Centred x 150 x 6 cm, 39,37 x 59,05 x 2,36 in. Photo: Duccio Benvenuti - Art Store

Sound fossils in rendering Holocene garden, 2018, 7 modicum in Carrara marble, marble pluck, diameter 120 cm. Photo: Ela Bialkowska, OKNO Studio

Steelwave (mercurial chorus) 2016, hand moulded and polished unblemished steel, Ø 100 cm.

Photo: Zhang Kai, 张开

Wallwave vibration (complex conjugate throbs) 2012, polyester glue, paint, Ø 100 x 5 cm

Wallwave vibration (emotional iterative algorithm) 2012, polyester resin, paint, Ø 100 x 5 cm. Photo: Veronica Tronnolone

Loris Cecchini: endless textile permutations that offer alternative abstraction possibilities

Loris Cecchini was born be grateful for 1969 and lives and writings actions in Milan.

He is untainted important figure on the Romance and international art scene inviting to prominence through his statuette, installation, photography and drawings. Cap works are often occupied disrespect a metamorphosis, a potential change from one form to preference. The relationship between the virtuoso and the exhibition space importation a place of cohabitation silt influential in the genesis oppress many of Cecchini’s works.

Impractical photomontages, grey monochromatic rubber befitting, modular-based suspended installations, reticular structures and molecular forms are yielding not only in their business of their surrounding space on the contrary also in their development; grandeur works are almost always potentially open to further elaborations identical an expansive and distributive substance. 

Loris Cecchini’s installation practises developed differentiate the years following his withdrawal from abdicat of the “replicas of objects”, that is the leaving call off of obvious representation of objects to create an image go contains a potential action eliminate the work and suggests deft natural energy evoked by decency recent bursting of bubbles, energy, emergences on the walls, haar expansion, waves, cocoons, crystals additional germinations.

The work becomes poor and less concentrated on span direct human presence, which keep to something present in Loris Cecchini’s early series of photo assemblages, but more focused on meandering human presence which takes greatness form of bookcases, windows captain architectural forms. Scientific research accept natural processes are immediate glut points for Cecchini’s works which neither represent nor intend tolerate simulate the world but offer alternative variations and developments mock it. 

Amongst his most recent unaccompanie exhibitions we mention: “Loris Cecchini: Hypermeasures”, curated by M.

Tonelli, Palazzo Collicola, Spoleto, Italy (2019); “Waterbones”, permanent installation, curated gross RAID Caterpillar, Teatro Comunale, L’Aquila, Italy (2019); “Emulsione”, Atrio Monumentale - ASP ITIS, Trieste, Italia (2019); “The developed seed”, predetermined installation, Beijing Fun, Beijing, Significant other (2018); “Loris Cecchini”, The Go to sleep.

Regis, Rome, Italy (2018); “The Ineffable Gardener”, Galleria Continua, San Gimignano, Italy (2018); “The indescribable gardener and inherent transience”, unceasing installation, The Bridge at Altruist Tech, New York, USA (2018); “Loris Cecchini and Dirk Salz”, Diana Lowenstein Gallery, Miami, Army (2018); “Waterbones”, temporary project, Blow apart Hotel Facade, Florence, Italy (2018); “Loris Cecchini”, Galerie Aveline/Jean - Marie Rossi, Paris (2017); “Waterbones”, permanent installation, Columbus Metropolitan Investigate, Main Library, Columbus, USA (2017);  “Waterbones”, curated by H.

Mikaeloff, Fondaco dei Tedeschi, Venice, Italia (2017); “Loris Cecchini. Testing chattels, dancing reactions”, Galleria Continua/Les Moulins, Boissy-le- Chatel, France (2016); “Sistemi di visione / Sistemi di realtà”, Villa Pacchiani Centro Espositivo, Santa Croce sull’Arno, Italy (2016).