Angelo Brescianini

Angelo Brescianini

Angelo Brescianini was born in Palazzolo sull’Oglio (in the province of Brescia) in 1948 as the last of four siblings.

At the age of 12 years he participates in his first collective exhibition while studying mechanical design. In the end of the 60’s he creates his first bronze sculpture, which is at the moment exhibited at Istituto Scolastico Enrico Fermi di Palazzolo, and in 1968 he joins the military in Verona while continuing to paint in his spare time: these are the years of his first attempts of “shots” on rusty metal plates. In the same year he participates in the Padova Biennale with a painting by the title Painful Waiting (this might be a reference to the waiting of finally leaving the military), with whom he gains his first recognition. At the end of his military service he is hired to control the fusion of iron, bronze and aluminium in a metal company from which he leaves after only a few years, to open a workshop for cabinet makers in the seventies. In this period he participates in art fairs and collective exhibitions, showing his sculptures of wood and joins the artistic staff of Spirale Arte in Milan.

In 1991 the death of his sister provokes an infinite pain which converts into his artistic production of works with complex structures filled with expression and intelligence. For almost eight years the artist gradually gives up his work with furnitures, devoting himself exclusively to structural/chromatic research. The friendship and collaboration with the argentine kinetic artist Horacio Garcia Rossi leads him in the direction of development and production of optical sculptures in movement.

Angelo Brescianini dies 26th April 2016.

Angelo Brescianini creates his masterpieces using a new instrument with great potential that differ from the means usually used: guns. The artist senses the enormous potential and the surprise effect it generates among the viewers. His dynamic visions follow kinetic patterns that the artist conceives in a continuos change of levels and forms. This is how the first creations of shaped surfaces altered by the bullets are born in the laboratory, as the result of a carefully organized ritual: trigger of the bullet, angle, and distance of shoot. Strangely, in an astonishing contrast, the alteration of the surface sometimes offers the flexuous and refined form of a breast. On the cold steel plate the artist manages to convey the light that embellish its essentiality. The shiny satin sheets in blue, white, red and yellow, are never perforated thanks to Brescianini’s great capability to measure the gunpowder inside the bullets. The use of stainless steel, a material that is capable of transmitting only to whole composition, allows him to create the “bugnature”, which proves to be a daring manifestation of beauty. These bugnatures come out of the metal, collect the light and create unexpected and sinuous paths of fleeting moments. Drawings made on the steel bases are classic and unusual geometric forms. By many critics this new technique now considered a revolution in the international artistic panorama, since nobody has ever used guns to create a work of art. Brescianini’s intent is always to aim at the idea of the expansion and instantaneousness of creating the artwork.