Carlo Zauli Italian Artist Abstract Ceramic Sculpture Signed Zauli

Description

Ceramic sculpture by Carlo Zauli from the series "Sphere" done in the circa 1970s.
Stoneware and very abstract. Influences of … more Ceramic sculpture by Carlo Zauli from the series "Sphere" done in the circa 1970s.
Stoneware and very abstract. Influences of Lucio Fontana are apparent.
Exhibited large scale installations during Milan Design Week 2013.
Carlo Zauli is indisputably considered one of the most important sculptors of the twentieth century.
After having won the main awards in ceramics in the fifties, the early sixties saw him evolve towards a markedly sculptural interpretation of his Craft. In these years he developed his own artistic language, imbued with informal atmospheres intertwined with a harmonious but disruptive "naturalness": these are the years of growing international success. From 1958, the year in which the great high-reliefs were made for the Baghdad palace and the Kuwait State Printing Office, he saw his fame grow continually, up to the end of the seventies and eighties, throughout Europe, Japan , North America, where he realizes exhibitions and placed work permanently.
Carlo Zauli was born in 1926 in Faenza, where he died in 2002.
Instead of ornate platters and decorative vases, his work seemed to have emerged from the earth itself, with organic curves, jagged edges, cracks and fissures that reflected the artist’s keen connection with nature. It was this passion for the natural world that made his work revered in Japan.
Zauli first showed in the Japan as well in 1964 with the International Exhibition of Contemporary Ceramic Art that toured several top museums.

At the beginning of 1960s, Carlo Zauli enters an artistic period in which he could be defined 'a sculptor of vases.' He subjects his vases to a progressive process of geometrical synthesis that, combined with a sort of abnormal growth, turns them into true sculptures. His studio receives frequent visits from Arnaldo and Giò Pomodoro, Giuseppe Spagnulo, Nanni Valentini, and Lucio Fontana.
The artist's philosophy from the 1960s onward is summarized in the title of an essay he presents at the conference held by the International Academy of Ceramics, Geneva in 1966. The essay, entitled Creativity and Loyalty to Material, is supported by a “research of the expression of form, exalted and enlivened in the material itself." The objects created in these years abandon the asymmetry typical of the decade before to take on elementaric geometric forms, comparable to certain works by Nanni Valentini and Ettore Sottsass. Remarkable in the Faenzan's research was his interest in the tactile aspect of material, which leads him to obtain an extremely rich range of material tones, all tending towards the white monochrome that is later known as “ Bianco Zauli ”. less