(Rome 1927–2005 Perugia)
Untitled, 1954, signed, dated and inscribed Buon anno on the reverse, tempera, enamel and metal on wood, in artist’s frame, 36.5 x 17.5 x 7 cm, 48 x 30 x 8 cm (with artist’s frame)

This work is registered in the Archivio Piero Dorazio, Milan under no. 1954–000133-E160 and it is accompanied by photo certificate of authenticity.

Provenance:
Bernard Rudofsky Heirs, New York
Private Collection, Austria
Dorotheum, 28 May 2008, lot 109
European Private Collection

The wooden reliefs with the discreetly protruding points and lines secretly adhere to “Spatialism” (and, indeed, Dorazio is Fontana’s only companion). They are maps of unknown areas, “places of memory”, uncertain compasses on the four dimensions of a space that is on the verge of becoming fantasy-space. White on white, but sometimes the dots and the emerging lines are coloured at the helm in red or blue. There is a desire for minimal expression, a desire to refine perception in a very slow “focus”. Light and shadow, negative and positive, stasis and movement. A world seen from above, and also at once, a world born and immediately destroyed (with the change of light, the shadows naturally saunter in), but ready to be reborn in ever newer worlds.
(Maurizio Fagiolo dell’Arco, Piero Dorazio, 1954, p. 18)