Albino Reggiori - The Holy Man

25In the history of art, a clear distinction can often be made between figurative and abstract stylistic currents. However, when an artist's goal is to represent an object that resonates with phenomenal reality but, at the same time, is charged with hidden and symbolic meanings, this boundary can become blurred. Symbolism and Expressionism are emblematic stylistic currents in their conceptual interpretation of reality with an iconic rendering of images and a symbolic interpretation in the use of color. In Albino Reggiori's pictorial production, abstract and figurative blend almost seamlessly, in a highly original aesthetic in which suggestions of medieval art are combined with a strong Cubist influence.

Artist Albino Reggiori's pictorial vision is extremely creative and visionary. The perceptible world is transformed into an eccentric composition with a complex design. There is an intricate rhythm of broken lines in a compressed space, constructed along multiple lines, which owes more than a little to Cubism. However, this marked contemporaneity merges, in Reggiori, with a profound influence on medieval art. This is evident in the powerfully archaic synthesis of subjects, reminiscent of the stained glass windows of Gothic churches (often cited in his work). The chromatic exuberance also harks back to ancient stained glass and mosaics. The entire surface is a continuous play of dissonant colors in vibrant and luminous hues.

Albino Reggiori was an artist originally from Laveno Mombello, where he was born in 1933 and passed away in 2006. He was an engraver, painter, and ceramist. He began as an apprentice at the Italian Ceramic Society and, at the same time, graduated from the Professional Institute, where he also taught. Beginning in 1955, he began exhibiting his work in various Italian cities. In the 1980s, he taught ceramics at the Academy of Fine Arts in Como.

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