Artists list

Pietro Scampini

Born at the end of the 70's, the "Shadows" – slight figures recalling Africa and the gesture of walking – are one of the first artistic expressions by Pietro Scampini. Extremely synthetic anthropomorphous figures, which seem to be in constant movement, looking for a place without problems and sufferings, a true arrival point. However, the synthesis made by the artist of these imaginary figures, whose only perceivable gesture is walking, makes us realize that the moment for rest – last purpose of this research – is still distant, maybe non-existent. Therefore, his Shadows become projections of a humanity who uses matter to represent the essence of being and the impalpable.

Born in 1950 in Cardano del Campo, near Varese. After attending the painting courses at the Academy of Fine Arts of Brera, he started committing himself exclusively to sculpture, firstly working at Luigi Bennati's studio in Gazzada and secondly at the workshops of Carrara. He realized many exhibitions in Italy and abroad. He lives and works in Castronno, near Varese.

Mostre:

2012
Ri-Flesso Urbano – Accardi, Lang, Scampini, Galleria PUNTO SULL'ARTE, Varese (IT)

2010
Sede Gruppo 24 ore, Milano (IT)

2009
Fondazione Sant'Antonio, Noli – Savona (IT)

2008
Galleria Ghiggini, Varese (IT)
Expo Village, Varese (IT)

2006
Ecke Galerie, Augusta (DE)

2005
Refettorio delle Stelline, Milano (IT)

2004
Museo Pagani, Castellanza – Varese (IT)

2003
Galleria Cortina, Milano (IT)

2002
Museo Salvini, Cocquio Trevisago - Varese (IT)

1998
Galleria Serge Scohy, Bruxelles (BE)
Galleria Serge Scohy, Anversa (BE)

1997
Galleria Excalibur, Stresa – Verbano-Cusio-Ossola (IT)
Galleria Vinciana, Milano (IT)

1996
Palazzo dei Congressi, Stresa - Verbano-Cusio-Ossola (IT)
Palazzo Sertoli, Sondrio (IT)

1995
Galleria Millenium, Milano (IT)
Palazzo Ducale, Mantova (IT)
Arte Fiera Bologna, Bologna (IT)

1994
Sala Esposizioni Alitalia, New York (US)
Galleria la Crocetta, Gallarate - Varese (IT)

1992
Lifestyle Europe, Tokyo (JP)
Sala Carlo Cattaneo, Lugano (CH)

1991
Galleria Mancini, S. Gimignano - Siena (IT)

1990
Galleria la Crocetta, Gallarate - Varese(IT)

1989
Istituto di Cultura Italiano, Melbourne (AU)
Palazzo Comunale, Castronno (IT)

1988
Galleria S. Paolo, Bologna (IT)
Galleria Arte Europa, Bergamo (IT)

1987
ex Chiesa Filippini, Chiavari – Genova (IT)

1986
Galleria Toni de Rossi, Verona (IT)
Galleria Graziussi, Venezia (IT)

1985
Villa Recalcati, Varese (IT)

1981
Galleria Punte Sette, Busto Arsizio - Varese (IT)
Galleria Fumagalli, Bergamo (IT)

1980
Carsoll Gallery, Goteborg (SE)
Galleria Spada, Varese (IT)

1979
Galleria Graziussi, Venezia (IT)
Galleria l'Arco, Como (IT)

1977
Galleria Spada, Varese (IT)

Wrote about him:
Daniela Croci Silvuni, Luciana Schiroli.
Daniela Croci Silvuni

Born at the end of the 70's, "Shadows" is one of the first artistic expressions by Pietro Scampini. Slight figures recalling – without a "shade" of doubt – Africa and the gesture of walking, the only way these populations use to move. The figures cut into matter by Scampini seem to be in constant movement, looking for a place without problems and sufferings, a true starting point. However, the synthesis made by the artist of these imaginary figures, whose only perceivable gesture is walking, makes us realize that the moment for rest –last purpose of this research- is still distant, maybe non-existent. Thus demonstrating how Scampini, during this specific period of his artistic pattern, shared the difficulties of the historical context, characterized by the strong belief that the world was going to face the loss of any certainty. His bidimensional Shadows become projections of a humanity who uses matter to represent the essence of being and the impalpable. This is how bidimensionality becomes the natural mediation between material and immaterial. Pietro Scampini is able to enter the audience's imaginary, by cutting into iron these synthetic anthropomorphous figures, which never grant space to the realistic narration. A way to shape imaginary places and rhythmical sounds made resound by multitudes of human beings upon far, sunny and hard lands. It is the eternal migration, the path any individual, any creature, had to cover since its appearance upon earth. Feet made to walk, legs able to pace safely, eyes addressing far away, where the horizon meets the sky: words resembling the lyrics of a lullaby, echoing through the savanna, or a song accompanying men and women pointlessly moving on the metropolitan asphalt, evidence of a mutual destiny.

[Read more]

The Shadows by Scampini always move within large groups, not by themselves. Whether this might be reassuring within a world which can't bear solitude, it is also indicative of the difficulty of behaving as individuals. Groups of Shadows, of human beings, perfectly located within the exhibition organized by "Punto sull'Arte", especially for the association with the pieces of art by Wilfred and Accardi. An ideal chance for offering inner reflections and understanding – through the works by three different artists – which kind of destiny are we reserving for ourselves or, at least, which kind of reality are we living in. Moreover, it is surprising how Scampini could face such profound and disturbing themes without resorting to an expressionistic language, often characterized by violent colours. The artist from Castronno (born in Cardano al Campo in 1950) chose instead the levity inside the line which, naturally, curves, rushes, breaks into dynamic, poetic, ironic and, at the same time, tragic compositions. The Poetry which rescues us when our soul needs to go beyond reality. The whim for smiles and irony, which allows us to pass through complex situations. The Tragedy, which desperately urges us towards change, therefore saving us.

Luciana Schiroli

The shadows by Pietro Scampini are essentially anthropomorphous. It is a representation linearly modulated, availing itself of a sign which rhythmically marks the marching, proceeding, hurrying, running of the individual. The "shadows"' experience, developed between 1977-'79, is a turning point of a research tended towards the decline of physical image in favour of a sculpture based upon volumes, the relationships between matter and space, shade and light, in and out. While the "shadows" born from sketches upon scattered papers like the other pieces of art, turned into iron structures, the other sculptures by Scampini would have picked marble, plaster, wood. Therefore, the "shadows" own a precise and unique originality: they focus attention upon a distinct object – in this case human being– who moves, interacts with the surrounding space, with the paper first and then with the context where the iron piece of art is placed.

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The surprising detail of these iron works is the continuum of the line, as if the piece of art were traced by the pencil; there is a starting point, from which the idea spreads in a natural and progressive way, without rests or afterthoughts. A speed of tracing which becomes movement, rhythmical vitality, tension. Through this kind of linearism, the heavy material is softened and the whole vision is fit up with a fluency of acts and situations. An elementary language which allows a deeper permeation between the piece of art and the surrounding space since the latter enters the sculpture, rendering it even lighter and more movable. A spatial choice influenced by Calder, Fontana, a sort of plastic dynamism, never hard and heavy: from the essential and pure forms, creativity and mild irony, an astonishing vitality comes out, not without a poetical effect.

selected works