Lorenz

ceramist

Lorenz
Colori 2

ceramist

Lorenz
 

ceramic artist Nove and Bassano

 
 

Lorenzo Zanovello was born in Bassano del Grappa on October 4th 1977.
Now he lives and experiments in Nove.

From an early age he began to play with the land, a game that will soon become passion.
The search for new solutions led him to experiment with other materials such as: wax, wood
silicone, resin and glass, but his great passion remains OPERATED CLAY.
This matter allows itself to be expressed without inhibitions and limits and makes the work live according to a
ancient process.


It does not basically follow a specific theme, but leaves the soul to transmit to
mind things that your hands will then shape.
He loves earth, water, air, fire, the 4 elements that fused create a mechanism
sequential, rhythmic, harmonious.
a process that Lorenzo, fragment by fragment, consolidates giving shape to his works.
A summary of a complex interiority, of a spirit in constant change, which shapes,
what form, which evolves, which lives and which suffers to give an aspect and a form to the work that
he then leaves the conceptual space to immerse himself in the reflection of whoever sets himself up
front.


Chiara Ronzani

artista_ceramista_Nove_Bassano

Lorenzo Zanovello. Apparent discrepancies


But it is not enough to understand and appreciate.
Understand what moves a thirty-year-old ceramist and what the intentions of his acting in that variegated are
artistic field which is contemporary art is much more complex thing.
At least apparently.


Among the many qualities that Lorenzo possesses, the genuine creative vitality he finds must certainly be remembered
expression both in the workplace, through management together with the company's brother Franco
of family1, than in the more personal one visible to the public in this and others
select occasions. The aforementioned areas of intervention have sometimes similar paths, but whose
the common denominator is given by the total dedication in carrying out creative ideas and ideas. IS
if physically the places where everything is operationally the same, Lorenzo splits
always in a clear way both expressive methodology. Confrontation with work colleagues
during the day and the serene solitude that allows the ego to get out of dusk and until
mind and body are able to work in harmony. Contiguous areas, but deliberately distinct.
Lorenzo Zanovello is a ceramist, but he is also a painter and sculptor. And in ceramics, rooted in
territory where he lives, has had from a very young age a vast test and experimentation bench
to go into over the years. Lorenzo loves the pottery of his land in all his
declinations, feels the debt towards a history made of traditional forms and decorations, but it has
always trying to move its horizon beyond the custom of consolidated models. With
this attention to the past and the many experiences he had in the company, Lorenzo has gained
a baggage that, even from a merely technical point of view, allows him to deal with one
security the ceramic material. It is not a matter of virtuosity for its own sake. The primary intent is that
to bring out a message that from time to time can strike for the contemporary, it can
seem both irreverent or emphatic, but do not leave indifferent. It is a need that arises within
the soul and that takes shape and color quickly. It is almost an urgency that finds fulfillment in
varied works, but part of a precise and recognizable artistic path. There is attention
at present, there is the desire to confront the real world to highlight its most aspects
controversial or in any case open-mindedness to deepen important and timeless themes.


On the occasion of this exhibition in one of the most celebrated cities in the world, Lorenzo Zanovello has
chosen to create an original path that reinterprets centuries and symbols in a completely personal way
of Venetian history.
It therefore starts from the most famous court symbol of the Serenissima, that lion that has become an icon
of the evangelist Mark holding a book in which the word peace stands out. From there the idea is that of
highlight another of the most earthly symbols of Venice: the masks. Masks that in
over the centuries they have perhaps also had the apparent function of bringing down social classes
on the occasion of the Carnival or the sinful banquets remembered and celebrated by the literature of
a few centuries ago. But masks are also one of the privileged metaphors in
representation of all that is artificial, artificial, unnatural, of all that the individual seeks
to appear as it is not, often yielding to the enticements of sin. And here is the theme of vices
capitals, theme among the most famous in western history, becomes a reflection of the present outside the
contingent. The seven vices as the real discrepancy existing today between the will of man to want
looking for the best, but often, for this reason, slips into absolutely anti-ethical behaviors.


1 Stylnove, founded by his father Giovanni in 1967.


Marco Maria Polloniato

'Nature'

 

Ceramics between tradition and innovation.

 

 

        In-depth thesis in 'Industrial Design'

 

Prof. Valsecchi

 

From Stella Martina

 

School of Specialization in History of Art

Contemporary Art Address

 

University of Siena

a / a 2010/2011

Introduction

For this study I chose a particular object, a ceramic lamp, a floor lamp of consistent dimensions (about 160 cm by 85) which if lit shines with a warm, soft, enveloping light and creates an atmosphere of the past, despite being in form and workmanship, a current and innovative object.

Even if made in a contemporary factory and even if designed by a young designer, the effect it produces, in those who allow themselves to be illuminated calmly and without haste, is really that of an object of the past, of calm solemnity that reminiscent of the lotus flowers or the golden Buddhas of the east.

I would like to talk about the 'Nature' floor lamp and I would like to do it through a brief nod to its creator, Lorenzo Zanovello, to the place where it was created, Nove, a town in the province of Vicenza not far from Bassano del Grappa, through the words of this object gives its author and also through the explanation of the process that leads it to be a process that if known and understood can only give added value to the object.

Hints to the designer and the place

                                          

'I always think of something new' is one of the recurring phrases that Lorenzo loves to pronounce when he talks about himself, his works, his projects. He is a young thirty-year-old artist and designer who lives and works in Nove, and this is not a secondary fact, given that the Venetian town is one of the most important Italian centers for the production of ceramic artefacts.

When I asked him how his ideas come from, where he draws inspiration from, he simply replied: 'I have my hands in the dough all day, always, the brain is in constant movement, I know the material perfectly, I know it the limits, the strengths, the weaknesses ... things come out like this' [1]. He speaks of limits but also of novelties in the processing of ceramics, he says that his is a stimulating job, always new, always looking

Zanovello has been working for about 10 years in the family factory, Stilnove, and it is he who creates the objects that are offered on the market today. But he does not design or work only for the family business, but also for Italian and foreign clients and has collaborated with important Italian designers.

His objects are designed and followed from the beginning to the end, from the finishing touches to the assembly to the lighting systems to the decorations, Lorenzo's continuous experimentation on form, colors, effects and new techniques.

His working material is ceramic, a material with which everything can be done, experimentation with this medium is almost unlimited.

Another strong point of his projects and objects are the measures: the size of an object, in ceramic is particularly difficult to obtain, large objects can be made only if you know the material and its reactions to the various steps in depth of the creation procedure.

The 'Nature' floor lamp, for example, until ten years ago would have been impossible to make: for each object, you need to know its strengths, the ribs that support it, the large dimensions give rise to pieces that are almost impossible because they are very delicate: 'it can crack, the edge can come down, it will have a hundred liters of pouring inside ... there are things to keep in mind, there are things that, as was the ceramic a decade ago, were not possible' [2].

Experimentation first. And innovation. Attempts.

The context, the city in which he lives, was certainly also important for Lorenzo Zanovello's training.

Nine enjoys an undisputed international reputation in the ceramic field, due to the favorable geographical position and creativity of its inhabitants. The nearby Brenta river and the smaller waterways started the development of the country already in the pre-industrial era, supplying motive power, raw materials for construction and ceramic activity.

Already in the late 1600s, the production of 'crystalline' ceramic (that is, of humped, painted and varnished terracotta) began in Nove, exploiting the waters of the Brenta River and its tributaries to build 'mills to crush stones' and furnaces. The river also supplied wandering quartz and calcium carbonate pebbles. The proximity to Bassano del Grappa, where ceramic production can be traced back to the 1500s (the objects produced there can also be seen in the paintings of Jacopo da Ponte), had started the circulation of ideas and knowledge also in nearby Nove . By the mid-18th century, the Antonibon majolica manufacture had become the most qualified and thriving ceramic industry in the Veneto State, capable of occupying the citizens of Nove but also of attracting workers from Bassano, Venice, Lodi, Milan and France.

Today the situation has changed, few active industries have remained, perhaps a dozen, employing around 200 people, while until a few decades ago, only 6000 worked in Nove (Nine has about 5000 inhabitants) and this makes us understand how important were its production and its context.

Floor lamp 'Nature'

This lamp was designed in 2009 by Lorenzo Zanovello, within a path and a study started already in 2001 on lamps that exploit a particular internal lighting system.

Another characteristic of this floor lamp is its dimensions: for a ceramic object it is very difficult to reach these measures without compromising its stability or robustness, without brittleness becoming too likely.

Although stylized, the model in its floral form seems to resemble a calla lily, its shapes are delicate, the harmonious and subtle curves.

It is an object created for two customers, one Italian and the other abroad, these lamps, both in the smaller version, obviously much more easily marketable, and in the large version are mainly sold in the Scandinavian countries, Sweden, Norway, Finland, but also in Russia, England and Germany.

The floor lamp, creating a soft ambient light, becomes a unique and innovative element especially as regards ceramic lighting: it is a different object from the classic lamp with lampshade, even if there are already articles with internal lighting on the market, but these the latter are mainly openwork objects that do not play with curves and shapes as in our case.

There are about 40 models of lamps with internal lighting, with low consumption light bulb, designed by Lorenzo. The model from which the processing that led to our final floor lamp began is a small calla-shaped lamp, naturalistic both in terms of plastic and colors. This object, from 2001, was certainly pleasant, but subsequent modifications and elaborations led to the creation of an even more particular and innovative model.

As I have already mentioned, soft, organic, simplified but at the same time elegant forms contribute to making the 'Nature' floor lamp a precious design object, which contrast a little with the geometric coldness of certain contemporary objects, but the novelty of its production, the large dimensions that are so difficult to create and sustain in the processing of ceramics, as well as the atmosphere that manages to create, the enveloping light that emanates are innovative features and strengths that increase, in my opinion, the value and the beauty.

If decorated and finished in gold, the light it gives off is soft, ambient, reading, enveloping and warm. If finished in silver or platinum, the light becomes colder, clearer and more perceptible and the overall effect of the floor lamp also changes, becoming a source of bursting and non-suffused light. The same object, depending on how it is finished, can be said to almost change its appearance.

The internal light system has been studied and modified several times, to arrive at an equilibrium point where the bulb is not seen and the light is reflected.

Zanovello explained to me that in addition to an aesthetic aspect, that rib, that slight curve that delimits the upper part of the floor lamp is also a functional support, without that curve the shape would not hold up, would become too fragile, would bend over itself or break. Lorenzo said he had gradually modified the effects and smoothed out the defects, up to the finished product, the effect he desired, which he sought.

This is how the designer explained the final solution of the floor lamp: 'if you do not create the basin, the light does not reflect, I have gradually changed and reduced the defects, now the shape is what I was looking for. For example, in the first there were difficulties for the installation of the bulbs that were not there, because of the size, so you understand where to change, how to make them more 'right'. For example, for the floor lamp, I know where to make it thicker and where I can thin: the nerve at the top is fundamental, if it were not there, the floor lamp would break immediately, would burst just by putting it inside the box, it is very fragile. The thickness will be about one centimeter, but it is not the thickness that makes it robust, it does not change from an inch or one and a half, indeed if it were thicker I would have problems in the dryer. You risk breaking it. It is necessary to go a little by attempts, by successive approximations to the desired, desired form. '[3]

In terms of timing, small lamps in about four days can be ready and shipped, for large ones, floor lamps, times are longer, procedures are more delicate. The drying and rest times are extended and it takes about ten days to create a finished and decorated 'Nature' floor lamp.

Even the decoration with gold leaf is a particular and innovative ceramic technique: typical of Lorenzo is experimentation in the various stages of decoration or firing, to study and understand the different reactions of the material. In this case nothing is wasted of the gold leaf, there are no scraps, the crumbs, the residues are taken and glued again to the surface of the lamp creating that beautiful effect of glossy-opaque, translucent, smooth and rough to the touch, all side by side or irregularly superimposed.

The decoration contributes to the diffusion of light, embellishes it, warms it, attenuates it, makes it pleasant and enveloping.

Executive procedure

                                   

I would now like to dwell a moment on the executive procedure that leads to the creation of the 'Nature' floor lamp, because I believe this can serve to enhance or appreciate the final product more.

Lorenzo has repeatedly said that his work is fast, it is a job of inspiration. He rarely uses projects, he rarely makes sketches, only if he has to present them to a client, but usually it is the hands that work, which create directly by giving shape to the uneven matter, going to shape the clay according to his own mental design, shaping the earth to recreate the shape it has in mind.

For this reason his is a doing by attempts, by successive approximations to the final object.

When the form is created, when the thought has materialized, then the mold is obtained from this object, the plaster negative inside which the liquid clay will be poured.

The dough, or the preparation of the clay, of the raw material made liquid, is in fact the first thing to do.

Casting is the next phase in which the clay is poured into the plaster mold and left there ... the more it is left, the more the thickness of the object increases: the plaster mold absorbs water, takes out the water from casting.

The latter is a technique introduced in the processing of ceramics from the 1950s and has become the symbol of the transition from artisan manufacturing to the more modern and industrial one.

The emptying occurs when the thickness to be given to the object has been decided. Each piece, each object has its own particular thickness, in relation to the seal or the design.

Then the mold is opened, but the object is still left in place for a few hours because it must take air, dry at least a little, but not too much, otherwise it is no longer possible to work it. The next step is the finishing of the raw material: the burrs and excesses are removed by hand. At this point the piece is placed in the dryer: a chamber specially built to suck the humidity and allow the object to dry, at this moment all the holes must be closed, the open pores of the clay, otherwise during cooking the piece can burst.

The oven is the last step.

In our case then, before the decoration, there is the assembly of the internal lamp.

The decoration, here in gold leaf or imitation gold, takes place with the particular technique I wrote before: using also the residues of hormone, the leftovers, so as not to throw anything away, this procedure gives rise to a somewhat choppy and irregular effect warm and pleasant.

Conclusion

For this study I wanted to choose a simple and commonly used object, such as a lamp, to search in the conception and processing of it, those things, those details that, as in this case, can make a common object a particular object.

Surely the dimensions, and connected to this the difficulty of this work in the ceramic technique, can help to make, in this context and with this material, 'Nature' a unique, innovative and valuable piece.

But these are not the only things that interested and impressed me, I could say that perhaps the most fascinating side of this floor lamp is the effect that light creates reflecting itself in its golden curve. And also the fact that this piece is made of ceramic, one of the first mediums used by man, ennobled over the centuries but which still manages to amaze in the procedures, in the execution techniques, in the use that even in a contemporary context can find .

Also the fact that this floor lamp is almost a sculpture, its presence inside a room is so important, almost a little discreet but at the same time very quiet, suffused, enveloping piece of furniture. Contributing to this is the gold finish, which makes it seem of the past, which creates reflections that lighten the mass of the object, it will be the sliding of the light in the rippled surface of the gold-like decoration all irregularities to place, in my opinion, this object in a borderline between ancient and artisanal creation and modern, industrial creation in series. In series, yes, but with some small differences between one piece and another that highlights its beauty and accentuates its particularity.

Ceramics can also, as in this case, be mass-produced but always retain the flavor of manual skills that created and created it.

Bibliography

-Brugolo K., Ceramics in the Veneto, ed. Cierre Grafica, Verona, 2004

-interview with Lorenzo Zanovello, Nove, June and December 2010

- internet consultations

LORENZO ZANOVELLO |

Lorenzo Zanovello was born in Bassano del Grappa in 1977. he lives nd works in Nove (VI) His education is artistic,
he comes from the tradition of the ceramic of Nove. The research of new solutions brings him to test materials as wax,
wood, silicon, resin and glass. He is very familiar with clay. He interacts with this original material with no inhibitions
and limits and with great familiarity. After attending the Art institute for ceramic in Nove, he begins managing with his
brother the family's company. Giovanni Zanovello was essential for his education.


Mario Guderzo

Lorenzo ... a young artist with a suitcase full of experience
artistic newspaper.

The artist has stigmatized vanity and the aspiration to immortality of one's identity
delegating to one of the most practical material experiences - manipulation
ceramic - the function of accompanying him to support its meaning. Translating the
behavior in form, reprojecting it in the heart of experience, inevitably the
documentation of what has been and what is takes over any
form of conceptualization of the path. Lorenzo's is a path that
crosses a multifaceted documentary of paths of existence, paths fin
from adolescence and therefore characterized by knowledge and safe practice become
aesthetic in its maturity. From such a perspective it is possible to oust all
any criticisms, of homologation generated by the ordinariness of many of the works.
If anything, the emphasis should be placed on the ability to surrender renewed compared to the ordinary or the "already
seen "in an extraordinary that hovers almost everywhere; and in this the ability to put oneself
critically beyond the narrow confines of globalized reality, giving dignity back to existence
of each and many common values.


ANTONELLA MARTINATO

modellatoredelfango
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COLLABORATIONS

that have left a mark

Giovanni Zanovello

Franco Zanovello

Luca Cavalca

Carlo Capellotto

Gino Carollo

Luizio Capraro

Cleto Munari

Aldo Gnesotto

Beppe Ortile

Paolo Polloniato

Aldo Cibic

Christian Piccolo

Andrea Dal Prà

Cesare Sartori

Roberto Zanon

Luigi and Mario Bertolin

Roger Carlesso

Davide Balliano

Loredana Longo

Alessio De Girolamo

Alessandro / Nero / Neretti

Lorenzo Zanovello

EXHIBITION

2021

2020

XXX

2019

PLASMARTE

Nine

 

THE INTERIOR COLOR

Montelupo Fiorentino

FURNITURE EXPO

Milan

MAISON and OBJECT

Paris

2018

CONTEMPORARY MIX

Rimini

MAISON and OBJECT

Paris

PLASMARTE

Nine

LONDON DESIGN FESTIVAL

London

RAMPS

Bassano del Grappa

MADE IN FILANDA

Pieve a Presciano

2017

FASHIONFORCHILDREN

SOLETERRE

PLASMARTE

NINE

ARKEDA with Cleto Munari

Naples

Furniture expo

Stylnove

Milan

2016

FASHIONFORCHILDREN

SOLETERRE

Charterhouse of Pavia

PLASMARTE

NINE

ARKEDA with Cleto Munari

Naples

 

2015

With Cleto Munari

Major Design

Isolani Palace

Bologna

 

Nine Ceramics

with Paolo Polloniato

Vania Sartori

Vittore Tasca

7B Study

Faenza

 

four and four

with Paolo Polloniato

Vania Sartori

Vittore Tasca

Art fair paint

Forlì

L

2014

Fashionforchildren

Soleterre

Curti furnace

Milan

 

Shaping

Stylnove via Munari 104

Nine

2013

The Talents of Ceramics

with Francesco Rigon

NINE Ceramics Museum

NINE

 

Fashionforchildren

Soleterre

Cinema Manzoni

Milan

 

V International Triennial of the

Ceramic

City of Este

 

Biblical Festival

Hands of an artist

ViArt

Chapter room

Vicenza

 

Aperitif with the artists

The Nine Ceramics

LENOVEHOTEL

NINE

 

2012

Fashionforchildren
Soleterre
Krizia
Milan

Maison & Object
Munari 104
Now
Paris

CLETOMUNARI study

Opening

Vicenza

2011

Fashionforchildren
Soleterre
East End Studios
Milan

Designer creations
Milan Fair
Milan

2010

Art and Images
LOVES
Lower Castle
Marostica
Vicenza

2009
Expressions
Stylnove
Nine

Land
Phoenix Space
Venice


2008

Picasso was a Designer
Realization of sculpture for
Cleto Munari
Longa Vicenza


2007

International Award
Grand design-design
Alisea
Bologna

2006

Fuorisalone
2nd track
Milan

2005

Solomon P. Guggenheim Foundation shop
Venice

Artisan routes
Villa Verla
Vicenza

2004

National Competition Cavillo Art
shape memory
Povoletto Udine

Ordinary Home Object
Pop Solid
Milan

The paths of health
Vicenza

2003

Experiment Arts
Nine
Vicenza

2002

Experiment Arts
Cartigliano
Vicenza

2001

Experiment Arts
Nine
Vicenza

 
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