Carlo Nangeroni

The pictorial story that sees Nangeroni as the protagonist unfolds like a long journey of research into the rhythmic and luminous qualities of the image. His work took place first in the United States, then in Italy, reacting significantly to the requests coming from the respective artistic circles. At first, and throughout the 1950s, his painting constitutes a reformulation of the stylistic features attributable to American abstract expressionism, however finding original accents in works with a monochromatic vocation where faint figurative traces, painted in relief, dialogue with abstract elements . The end of the decade saw him settle in Italy, and come into contact with the expressive innovations generated in the Milanese context. The work of Fontana, Manzoni, Colombo pushes Nangeroni to take leave of any naturalistic reference: since then his painting has been oriented towards the construction of rationally organized plastic fields. The new linguistic needs lead him to identify the basic words of his visual grammar in the essentiality of the circular shape and line; in particular, the iteration of the circumference, used as a point of light, generates as many vibrations as there are variations - compositional and chromatic - which work after work concern it. If in the seventies Nangeroni gave 'voice' to these experiments through the range of grays, then he makes them contextual to a research on luminous iridescence.The works of the Ekancio Foundation are chronologically inserted in a decisive temporal phase for Nangeroni, who in those years achieved international fame with his work.