Bruno Gambone - Vase “Homage to Fontana” - Galleria Rossella Colombari - Design Miami/
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Bruno Gambone

Vase “Homage to Fontana”

This object listing has been archived.

Previously shown at Basel 2021.

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This work is an iconic example of Bruno Gambone’s artistic repertoire. Strongly influenced by the Italian movements of Spatialism, Gambone has a profound recognition and admiration for Lucio Fontana’s works. This particular piece pays homage to one of the most important Italian artists of the twentieth century, which profoundly marked Bruno Gambone’s ouevre.
The material is transformed into forms full of vitality, and Gambone’s skillful and conscious mastery is present in every detail, giving light to the deep bond with the ancient art of ceramics of the Master. The artist abandons rigid and rigorous forms by embracing a more delicate and soft style. The compositional structure conceived presents harmonic articulations that assert themselves in the surrounding space. Through sculpture, the artist’s creative genius finds its maximum expression, recreating those pure forms that recall artifacts from the most ancient civilizations. Gambone’s poetics are strongly influenced by the primitive forms that have always coexisted with man. It is precisely from this research that the creative instinct arises, capable of transforming matter into original and elegant forms, poetic and rich in meaning.

Bruno Gambone


Bruno Gambone was born in Vietri sul Mare (Salerno) in 1936. Since boyhood, at the beginning of the 1950s, he dedicated himself to pottery, gaining experience in the Florentine workshop of his father Guido, one of the greatest Italian potters of the 20th century. After working for Andrea d’Arienzo (1958), he began to experiment by working on fabrics and painting on canvas. The artist was to continue the two activities in parallel, going onto present his first solo painting exhibition at Galleria La Strozzina in Palazzo Strozzi in Florence at the end of the 1950s. In the early 1960s he set up in New York where he frequented the likes of Rauschenberg, Nevelson, Stella, Lichtenstein and Warhol. As well as painting and sculpture, he also worked in theatre and cinema. In this decade his work was presented in solo and group exhibitions both in Italy (among others, Galleria Il Chiodo, Palermo, 1966; Galleria del Cenobio, Milan; Mostra internazionale dei giovani, Milan, Turin, 1967; Oggi, Salone Annunciata, Milan, 1968) and abroad (Henry Gallery, Washington, 1964; Galeria Bonino, Rio de Janeiro, 1967; 30 artisti europei, Galleria M, Bochum, 1969). His experimentation with materials, shapes, colours and decorations, increasingly present in his work in the late 1960s, was enriched by the experience he had gained in the 1950s. The “geometry of shape” influenced by the classical education he inherited from his father’s pottery, was replaced by a “perceptive, immaterial geometry” and the “idea” became the focal point of his work.

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    11.0 x 43.0 x 36.0 cm (4.3 x 16.9 x 14.2 in)

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