Agostino Perrini Biography
Agostino Perrini was born in Sale Marasino in 1955. In 1977 he graduated from the Academy of Fine Arts in Venice under the guidance of Edmondo Bacci, and participated in the activities of the Bevilacqua La Masa Foundation in Venice, exhibiting in Periphery of the Eye (1981) and Projections Art in Veneto 1970/80 edited by Toni Toniato. In the early Eighties he began a collaboration with the critics Claudio Cerritelli - Libertà d'image Rocca di Montefiorino in 1986, The Tomorrow of Painting at the Casabianca Museum in Malo in 1992 - and Dino Marangon - Sguardi a Nord-Est Palazzo dei Diamanti in Ferrara in 1986, Studio Tommaseo Trieste in 1991, in 1992 at the H+W Lang Gallery in Graz and in 2000/2001 Risonanti Figure at the Spazia Gallery in Bolzano and at the Multigraphic Gallery in Venice. In the 1990s he participated in L'Aura, a self-managed space for contemporary art in Brescia. Since the early 2000s he has collaborated as an illustrator with various publishing houses and as a graphic designer for some creative studios.
Over the years, Perrini's work has undergone continuous transformation, both technical and conceptual. The different technical solutions adopted by the artist are, however, the result of precise research which focused on the visual relationships between colour, shape and exhibition space. His early works express a strong gestural dynamism: they are abstract compositions, often bichromatic, which explore the usual forms of language and the body through the obsessive search for the "ungainly" form, perhaps born from the interest in the informal painting of Emilio Vedova. But over the years Perrini's paintings have lost recognizable images and objects. They contain no recognizable images or objects, but interest has shifted towards a more in-depth study of color surfaces and the relationship between color density and resonance. The difference compared to the dynamism of the canvases of the 80s lies in a perfect control of the material applied according to the construction of the support. The use of a cold and inert support such as glass and the extreme simplicity of the engraved lines do not aim to take away expressiveness from the work, but seek, through a play of shadows, to involve the wall below in the complex network of balances.
