Bruno Chersicla - Technological Cerambice

The work is an abstract composition. "Abstract" derives from the Latin term "abstrahere," which means to extract or draw out. The process of abstraction, in fact, consists of eliminating the particular and individual aspects of an object to derive a universal concept. From Kandinsky to Mondrian, from Pollock to Mirò, many painters have pushed the process of abstraction to the limit in their works, paradoxically creating pure forms and colors that do not exist in nature, or translating their emotions and instincts into images.

In his artistic research, Bruno Chersicla alternates more expressionistic phases with others inspired by the beauty of pure forms. The present work is part of a series of woodcuts in which Chersicla reconstructs his perception and message through a mechanomorphic process. Form is condensed into regular surfaces, whose colors multiply the interplay of sharp edges and, consequently, the decomposition and reconstruction of reality. The result is a series of totemic, hermetic, and mysterious figures, typical of Chersicla's aesthetic.

Bruno Chersicla (Trieste, 1937 – 2013). In the 1960s, he was among the founders of the Trieste-based group Raccordosei. During this period, he created sets and costumes for the Teatro Stabile di Prosa in Trieste and the Piccolo Teatro in Milan, where he lived since 1966. The production of his first Informal works was followed in the late 1960s by a period of experimentation in the construction of unique polychrome wooden structures. In the 1970s, abstract solutions were replaced by a sort of depiction of geometric forms, Lezione di Geometria (Geometry Lesson), and later—with Spitzenkongress—he focused on portraits of the historical avant-garde figures who shaped his identity: Klee, Tàpies, Svevo, Joyce, Klimt, Depero. Among his most important exhibitions in recent years are those in Atlanta, Chicago, Ljubljana, Miami, New York, Paris, and Toronto.

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