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Single piece Signed Dated Titled


80 x 80 cm
31.50 x 32 in







Acrylic on canvas. Hand signed by the artist on the back of the canvas.

, United States

Angelo Dozio was born on 14 July 1941 in Merate, where he still resides today. He attended the Brera Academy of Fine Arts in Milan. In 1958 he began to exhibit in group reviews while the first personal exhibition was in 1961. He directed his research to the relationships between direct experiences of everyday life, vision and knowledge. The year of the great turning point for Dozio is 1967, the year in which at the age of only 26, after having broken through the stages of figurative landscaping and informal gesturalism, the artist takes the most difficult and unknown path that will introduce him to abstractionism. geometric and constructivist. The first non-objective works are from 1968-1969. These are large paintings formed with the technique of additions, of spots, brushstrokes, fragments glued and covered with color. And then there are also works with glued, folded canvases, a kind of "geography of matter". The technique of collage and the juxtaposition of materials (such as cardboard, felt pads, etc.) leads Dozio to the paintings called Muri, surfaces as if made in patches that begin to free themselves from matter, a fugue that will find fulfillment in the cycle of the Swallows of those years: a series of works that are signs and curvilinear shapes on a unitary background, sharp, strong and elegant, reminiscent of the darting of a swallow in the sky. The swallow indicates the arrival of spring, it symbolizes a new life. And the new expressive life of Dozio is a clearly spatial formal system. Dozio synthesizes body, beak, tail and wings in a free and fast linearism. Here are some works called Curves in which Dozio introduces a kind of synthesis of architecture, an exaltation of kineticism: they are real landscapes of spatiality. The further passage from the Rondini to the Curve occurs in the large cycle of the "Horizons" (1970s), which are immediately inserted into the problematic "Abstraction-contingent". The mental datum, which is expressed in this case with the concreteness of thought and of the pictorial product, presupposes a beginning "what has been". In the 1980s the cycle of the "Labyrinths" developed, revealing a well-structured maturity of the artist. From the horizontal line we pass to the segmented lattices, to the intersection of verticals and horizontals whose perception is given by the use of color as a form-color; works that, starting from the relativity of color and form, become real dynamic structures. The apparent simplicity is given by the search for the essential and also by the aspiration to transcendence. As for a hypnotic fact, the consciousness is attracted to this grid of squares. It is no coincidence that he has mentioned on several occasions "a kind of Neo-Platonic philosophy" in relation to his works. He continues with an intense pictorial research activity in which the goal is the search for the Absolute.

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