Lorenzo Puglisi Italy, b. 1971


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“For me even the light, in the darkness, represents something that starts to shyly appear out of nothingness. That nothingness is my personal condition.”



Born in Biella, Italy in 1971. Lives and works in Bologna.

Lorenzo Puglisi’s paintings are the result of a pictorial research based on a strong interest in human nature and therefore in the mystery of existence urged by the obsessive attempt to portray it. Since 2015 his large canvases present references to art history and are related to masterpieces of the past filtered by his personal iconographic repertoire.

He is the author of a pictorial research characterized by the widespread use of black to create a background of absolute darkness: from here streams of light define volumes, faces, parts of the body, like presences captured in an expression or gesture. The artist is on a path towards the essentiality of representation and full of references to the history of painting. In recent years his artistic research has focused on large canvases referring to works of the past and filtered by his iconography.

Numerous are the solo and group exhibitions in public and private spaces in Italy and abroad that have Lorenzo as protagonist, including the MUDEC in Milan, the CAC La Traverse in Paris, Il Pio Monte della Misericordia in Naples, the Kulhaus in Berlin, the Riso Museum in Palermo, the Crypt Gallery of the Church of King's Cross St. Pancras in London, Villa Bardini in Florence, The Historical Museum in Bremen, the Bramante Sacristy at the Church of Santa Maria delle Grazie in Milan, Norman Foster's Moore House in London.

In 2022 the work Portrait 270418 (Self-Portrait) enters the collections of the Uffizi Galleries, a partnership that comes to the end of the Self-reflection exhibition, organized in the summer of 2021 in Riga by the Art Museum Riga Bourse together with the Uffizi Galleries, thanks to the will of the Director Eike D. Schhimidt and Guicciardo Sassoli de' Bianchi Strozzi.

In June 2019 Puglisi’s monography, curated by Hatje Cantz (Berlin), was published in Italian, English and German, with a special essay by Mark Gisbourne.

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