About me

I regard decoration , in the serial repetition of patterns including architectonic detail,as a playful activity springing from close-up and concentrating on the particular , leaving the traditional centralisation of the image as merely peripheral.
The emptiness of a non-imitative image is of value , not for what it represents, but for what it does not represent. In other words, what the work intends to avoid is revealed by playing with the picture in order to draw attention to what is incomplete, at an angle, inconsistent, empty or ephemeral , which is, an adornment expressing its very own decadence.
“Untitled”is a study of decoration in oil and tempera on canvas that highlights the importance of perspective.

In the last few years, since 1999, decoration has become the main theme. It appears as the repetition of a detail. Numerous are the pretexts, even the arabesques and other simulacra with a high symbolic meaning as we can see in " Iranian" (2007) a work which draws inspiration from the arabesque with an eastern meaning .The artist points out: " I conceived the painting after visiting the mosque of Isfahan in Iran. I was struck by the endless repetition of the marks." In the painting , among all those marks , from the bottom upwards, an astounded and bewildered visage rises.
Patrizio enhances the decoration, but the element of pleasantness does not benefit from it, as it was for the classical aesthetics, rather he feels it with a post-modern sensitivity, the one which swept away all the certainties even the art's one.
Here the distance from Klimt is evident. His images place themselves between vision/outlook and uselessness, what is important is the decorative pictorial unit. The decoration marks the resumption of the painting in the precariousness of the aesthetic.
We might doubt of the art through the language of art , for him what remains is the decorative remainder which expresses the need for what is useless, fleeting and precarious.
The decoration, in the form of marks repetition, in their persistence, absoluteness and uselessness, looks as a play which for Sanguigni often springs from the image becoming lateral , from its pretended absence.
This is an oblique logic of the detail that can be found in the work" Untitled" (2007), therefore we can speak of non-centrality ,almost emptiness of the image. The emptiness of a non- imitative image is of value not for what it represents but for what it does not represent. In other words the image tends to avoid; the play of the portrayal to focus the attention on what is incomplete, sideways inconsistent, empty, ephemeral , that is, a decoration containing its own decadence because of all these reasons.
Here is the new metaphysical creed of the artist, an art which recognizes, to use Baudillard's words, " its disappearance" in the persistence of a play.

In these works we are offered an analysis of the particular as resulting from its own lenticular condition. Our artists seems to take inspiration from the Flemish definition of lenticularity and this lenticular analysis blends in turn with the heritage of american painting tradition (Pop Art-Op Art) triggering a most fascinating linguistic short-circuit.

In "Metropolitan Odissey", an exhibition dating 2003, Mara Novelli comments: "There are details coming from the world of advertising, from the glamour, from architecture; an evolving panorama which leads to the building of a cynical nonsense, which makes the forms and the objects suspended and the objects between reality and the world of media".