Danilo Vitali was born in Bellano, on Lake Como, the 4th of September 1935. When he was thirteen years of age he began learning the first notions on metal sheet processing, at the “bottega” (workshop) of the tinsmith Antonio Carnovali, nicknamed “Tolèè”.
After a few years he is hired by the Carlo Borlenghi firm, as a plumber and tinsmith, where he is able to better master the skill. At 25, he collaborates at fish processing at his mother’s “pescheria” (fishmonger). He ends this collaboration in 1970, when he decides to dedicate himself to the learning of the bas-relief and chisel on copper plate technique, using drawings by painters and architects as models.
After a research period a new phase begins, creating personal works in a comprehensive manner.
His first solo exhibition was held in August 2013, met with great acclaim by critics and public alike.
La via del Rame – The Copper Road
Walking Danilo Vitali’s “via del Rame” is a new and singular experience that gives life to unpredictable, new encounters, being though an ancient and plural millenary experience.
It is the story of this metal, utilized since the beginning of civilization; its symbol “Cu” and its name originate from the Island of Cyprus, for its rich deposits, and was given the name Venus by the alchemists, given the fact that Cyprus was sacred to this goddess. This “via” of Danilo Vitali is also very personal, the result of a long path of practice, of search, of study, but, above all, of hard work; a craftsman’s work, made of burins, hammers, chisels, that in turn have made the hands of the artist in tools themselves, tools to engrave, to beat and cut, burnish, grind, polish, heat up and weld, to transform and bend a mineral material in new shapes, born from observation, experience and human creativity. On this “via del Rame” you encounter numerous shapes of vegetal, animal and abstract nature. It is certainly metallic nature, but yet not less “natural”, as much as art is natural and nature artistic, made of throngs of allis shads and shimmering turquoise and rusty purple coming through the cover; aquarium planes and flights of silvery bleaks flickering at the whiff of a turned page; of goats with a semite face, soaked from the rain. Of turtles treading slowly this millenary road, of birds of welded feathering, chirping on copper threads, of roosters waiting metallic and stiff. An owl, from a body of blue foils and head with verdigris wires, stares at us with his empty sockets: he could take flight in the gloomy night and leave the page empty…
On this unpredictable and surprising, personal and universal “Via del Rame” you encounter stranded ship-wrecks, nets of sculptures and sculptures of fragments, groups. Bunches of asparagus, monumental in their pride, sidereal artichokes and blooming honey mushrooms; sickles of pumpkins almost moonlike, autumnal grapevine shoots, cabbages that have felt the frost, cacti, pine cones and pomegranates. There is a fig tree, resembling a crucifix, whose copper branches cast leaves and fruits.
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