ABOUT
Nicolas Denino was born in Montevideo (Uruguay) in 1985.
After graduation he undertook several trips to Europe and settled in Spain (between Barcelona and Madrid) where he worked in fashion and design.
In 2014 he moved to Milan, approached contemporary art and began studying painting as a self-taught artist.
In 2019, after a period spent in New York, he decided to devote himself totally to art. He moved to Florence and opened a studio inside the 16th-century Palazzo Ricasoli Firidolfi on Via Maggio.
Since 2022 he settles again in Milan: he continues his research in the field of painting, sculpture, ceramics and, more generally, in the world of design, through collaborations with design companies and studio and production stays in Morocco.
INTRODUCTION
The crux of the artist's research stems from the study of different energy flows arising from specific colors. In general, his activity ranges from two-dimensional works (canvases) to three-dimensional works (shaped canvases, sculptures, glass works) to insights into the material role of color (concretions). At the same time he pursues a more specific investigation of ancient (book pages) and natural (roots) media that are always modified and altered (from their original function) by chromatic interventions.
The artist's work is initially inspired by Zygmunt Bauman's liquid society. A society experiencing a profound crisis dictated by unbridled individualism and the lack of a sense of community, which the artist interprets through the use of forms that float (with freedom and depth) in space, without relating to one another.
These reflections are translated into circles, predominantly blue in color, either applied to diverse supports or released into space as sculptures. The choice of blue (ultramarine), which well translates the liquid dimension, is also suggested by reasons related to the personal history of the artist who grew up in a family of water producers.
Experimentation with color, used in monochromatic mode to suggest a spatial dimension within the work and an intimacy of vision, also contemplates shades of black and white. While black is used as a background or connecting vector between the forms, white is chosen as a metaphor for silence: in the first experiments, the drafting of white color is in fact functional to "erase" the nature of the support (written page) in order to offer new and infinite possibilities of reading.
The investigation into the depth of color later comes to assume an autonomous plastic dimension: blue, white and black mold forms freed from the supports to constitute (and build) independent sculptural compositions. This last aspect, ferries the artist's research towards disciplinary trespasses that bring him closer to the world of project and design: the study of the possibilities and potentialities of the autonomy of forms, is functional to seek a closer relationship, not only visual, between work and viewer.
