(from 1974 to 1976)

[...] Balsamo turns upside down the usual function of the canvas: from background to a screen.
The lights becomes the expressive means of his research, not only in representational terms but
mainly as the active and operational germ. It is the same light that on trasparence makes pale red
and blue. That light that hangs mid way between the black outlines of the geometric figures and allows
different tones to overlap each other as if they were thin veils. It is the same light that activates the dy-
namism of the precise and decorative manner, so that empty spaces have the same formal value of
those that are filled up. It is the Same light guaranting the revelation of the spontaneous movements
of the brush. Movements that, just like a Zen painting, are impossible to conceal or to repeat. [...]
Floriano De Santi
(by: F. De Santi, Vincenzo Balsamo,"Color's Song", 1996, pp. 11-12, ed. Mastroianni' Foundation)

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Click on the below thumbnail to enlarge.

Double vision
(Visione doppia)
Abstract composition
(Composizione astratta)

Toward the abstraction N 1
(Verso l' astrazione N 1)
No title
(Senza titolo)

No title
(Senza titolo)
Decomposed landscape
(Paesaggio scomposto)

Vivacious composition
(Composizione vivace)

Archaic composition
(Composizione arcaica)
Toward the abstraction N 2
(Verso l' astrazione n 2)

The red triangle
(Il triangolo rosso)
Composition in yellow
(Composizione in giallo)

Big composition
(Grande composizione)
Anthropomorphosis architecture
(Architettura antropomorfa)

Composed memory
(Memoria composta)

To the light
(Verso la luce)


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