Roberto Crippa - Spiral

Roberto Crippa's artistic research falls within the realm of Spatialist aesthetics. Born in 1946 with Lucio Fontana's Manifesto Blanco, Spatialism posed primarily as a question of how artworks were perceived. The aim of movement was to definitively transcend the surface of the canvas for a perceptual experience that definitively engaged Space. Hence, the use of electronic technical devices, employed for their ability to radiate energy, or the use of gestural techniques, such as holes or cuts, to break through the surface of the work and invade it with the accidentality of reality. In Crippa's case, the work's irradiation into space occurs through the spiral, a recurring motif throughout his pictorial output.

For Roberto Crippa, the spiral is an abstract, geometric figure that, tending toward three-dimensionality, can transcend the two-dimensionality of the work and radiate energy into the very space of the viewer. In the painting in question, the spiral is created by the artist with his usual subtle yet precise strokes, tracing clear orbits that create their own concrete existence on the surface of the work. The concentric movement and dynamism of the subject, already developed by the spiral itself, is further emphasized by the pictorial layering that shapes the rest of the painting. Crippa, in fact, tends to bring out the energy radiating from the work by placing, at the center of the spiral, electrical vibrations like flashes of light, which have much to do with the Spatialist aesthetic and its relationship with technology.

Gaetano Crippa, known as Roberto, was born in Monza in 1921 and died in Bresso in 1972. Besides being a painter and engraver, he was also known as an aviator. He began his career as a figurative artist and then moved on to a Cubism very close to Picasso. He finally found his own artistic language after embracing the Spatialist Manifesto, creating the "Spirals" cycle. Spirals are constructions that, through their circular movements, tend towards three-dimensionality and, therefore, transcend the dimension of the work, remaining in line with the principles of Spatialism.

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