Cerchio, 1982

wood, leather, canvas, gold pigment
11.4 x ø 53.5 cm
An art for pure beginnings
“Here traditional sculpture and methods of painting seem quite visibly to be held in a spatial and timeless suspension . . . it seems like art produced for a tabula rasa, an art for pure beginnings and undiscovered universes.”
(Noel Frackman, Ruth Kaufmann, Documenta 7: the dialogue and a few asides, in “Arts Magazine”, vol. 57, no. 2 [October 1982], 92)

A composition of elements
"Cerchio is composed of a wooden circle—the outermost part of a Berber drum belonging to the artist, which was broken during a festive evening—containing two overlaid canvas cutouts, and a brush with the tip colored red, inserted in a hole of the drum’s structure and converging towards the center. The internal element formed by the two portions of canvas, through an intervention in gold leaf on the smaller one with an elliptical form, placed over the upper extremity of the larger semicircular canvas, is an initial reference to the figure that would later be indicated as a 'cup'."
(Laura Conconi, Maria Corti, "Chronology", in Remo Salvadori, ed. Antonella Soldaini [Milan: Skira, 2025], 185-186)



Photo © Salvatore Licitra

Cerchio, 1982

wood, leather, canvas, gold pigment
11.4 x ø 53.5 cm
An art for pure beginnings
“Here traditional sculpture and methods of painting seem quite visibly to be held in a spatial and timeless suspension . . . it seems like art produced for a tabula rasa, an art for pure beginnings and undiscovered universes.”
(Noel Frackman, Ruth Kaufmann, Documenta 7: the dialogue and a few asides, in “Arts Magazine”, vol. 57, no. 2 [October 1982], 92)

A composition of elements
"Cerchio is composed of a wooden circle—the outermost part of a Berber drum belonging to the artist, which was broken during a festive evening—containing two overlaid canvas cutouts, and a brush with the tip colored red, inserted in a hole of the drum’s structure and converging towards the center. The internal element formed by the two portions of canvas, through an intervention in gold leaf on the smaller one with an elliptical form, placed over the upper extremity of the larger semicircular canvas, is an initial reference to the figure that would later be indicated as a 'cup'."
(Laura Conconi, Maria Corti, "Chronology", in Remo Salvadori, ed. Antonella Soldaini [Milan: Skira, 2025], 185-186)