Arrigo Buttazzoni - Human Intervention on Nature

The work draws on an Informal aesthetic language. The devastation wrought by World War II left a profound mark on Western civilization, which in the visual arts also resulted in an inability to communicate. For some artists, this challenge led to a complete rejection of any visual language, resulting in the birth of Informal Art. The various Informal movements are certainly connected to American Abstract Expressionism, especially with regard to the gestural component, but they go further in their rejection of any figurative element, even geometric. Their research focuses instead on the material from which their works are composed.

The informal art of the artist Arrigo Buttazzoni develops through a perceptive exercise. The artist begins by acquiring sensory data and reworks it according to his highly personal sensibility. Thus, each composition almost definitively loses contact with phenomenal reality, translating into a pure transposition of matter and gesture. Indeed, Buttazzoni seeks to capture the impression of the reality around him, but this leads him to completely disintegrate form and translate his perception directly into pictorial gesture. In this painting, Arrigo Buttazzoni seems to hark back to a pictorial method typical of American Abstract Expressionism. The painter's gestures, expressed through a impasto of dense paint, are controlled in a composition of structural overlays with the instinctive character typical of action painting.

Arrigo Buttazzoni was born in San Daniele del Friuli in 1947 and died in Moruzzo in 2012. He graduated from the Spilimbergo School of Mosaic in 1966. After a stint working in Canada, he returned to Italy to work as a graphic designer and, at the same time, to paint by vocation. Arrigo Buttazzoni's artistic production spanned over forty years, from his first solo exhibition in 1971 to his last group show at the end of March 2012, a month after his death. His beginnings were marked by a pervasive Friulian naturalism, which he expressed particularly through the symbol of roots. In the following years, his reflections shifted more directly to social issues, through the metaphors of the torn poster and the truck, clear signs of human existential restlessness.

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