Domenico Bianchi

1955, Anagni (FR), Italy

Domenico Bianchi is a central figure in contemporary Italian art. Born in Anagni in 1955, he studied at the Academy of Fine Arts in Rome and made his debut in 1977 with a solo exhibition in New York. Since the 1980s, he has distinguished himself through a refined and original approach to painting, using wax and luminous materials as his preferred means of exploring the relationships between form, light and space. His works, often untitled, feature minimal marks and geometric structures that evoke a symbolic and meditative dimension, poised between abstraction and spirituality.

Through a meticulous technique inspired by the ancient practice of encaustic painting, Bianchi creates smooth, rarefied surfaces resembling pictorial sculptures, in which slow and contemplative craftsmanship becomes an integral part of the work. The circular figure is central to his practice: an archetypal mark and generator of form that organises visual perception and opens the work to multiple interpretations.

Bianchi has participated in numerous international biennials, and his works are held in prestigious public and private collections, including the Museum of Modern Art in New York, the Centre Pompidou in Paris, Castello di Rivoli and GAM in Turin. He has exhibited at institutions such as MACRO in Rome, MAMbo in Bologna, MADRE in Naples and the Stedelijk Museum in Amsterdam.

Closely associated with the leading figures of the later Roman School and with the aesthetic of Arte Povera, Bianchi has collaborated with historic galleries and international institutions. His rigorous, quiet and luminous work continues to attract scholarly and collecting interest, as demonstrated by his longstanding connection with Stefano Rastrelli, collector and founder of Cervino 28, whose collection includes numerous works by the artist.

Domenico Bianchi

Senza Titolo 2020
204x164 cm

In this large-scale work, Domenico Bianchi constructs a luminous and meditative surface in which geometric order appears to emerge from a fragmented field of pale, overlapping forms. At the centre, a circular structure expands and folds in upon itself like a vortex, a labyrinth or a continuously rotating mechanism. Its intricate lines introduce movement into an otherwise quiet and suspended composition.

The muted, translucent quality of the wax contrasts with the reflective presence of palladium, which captures and releases light as the viewer changes position. The image therefore never appears entirely fixed. It shifts between opacity and brilliance, stability and transformation. Through this delicate balance of material, light and geometry, Bianchi turns painting into a space of contemplation, where the circular form becomes both a visual centre and an open, endlessly evolving structure.