SERIES:
THERE IS NO RIGHT
THERE IS NO WRONG 
2019 

There Is No Right There Is No Wrong is a quest for new modalities of visual composition combining fast random hand gestures and meticulous formal re-configurations.
It explores the recursive and generative potential of a quickly drawn doodle-like line translated into a physical medium, and especially the process of rearranging the various parts generated by this randomic gesture (and its subsequent cut into the material) into three-dimensional non-objective compositions of various typologies.
It is a dialogue between contrasting opposites: the spontaneity of the generation of randomic forms and the necessity to control and balance its composition, in an almost primordial activity of discovering possibilities expressed directly by the forms and their affordances. Turmoil and order and the tension to free floating forms - yet following specific sets of parameters, which are different each time.
Every single choice taken along this process of re configuration of the elements is relevant, and has small and big impacts on the following moves, as well as the growth and the development of the whole system.
It can be seen as a metaphor of our life, as we proceed through chaos.
This series is made up of two groups of works (Line 1 and Line 2) each one generated by a single line. 

Collection Overview


Drawing in Black, G.E.C. Line 1, 2019 Drawing in Colors, G.E.C. Line 1, 2019 Drawing in Black, G.E.C. Line 1, 2019 Drawing in Colors, G.E.C. Line 1, 2019 Cut-Out, G.E.C. Line 1, 2019 Cut-Out, G.E.C. Line 1, 2019 All-Round Painting, G.E.C. Linei 1, 2020 All-Round Painting, G.E.C. Linei 1, 2020 All-Round Painting, G.E.C. Linei 1, 2020 All-Round Painting, G.E.C. Linei 1, 2020 All-Round Painting, G.E.C. Linei 1, 2020 All-Round Painting, G.E.C. Linei 1, 2020 Bas-Relief Painting, G.E.C. Line 1, 2020 Bas-Relief Painting, G.E.C. Line 1, 2020 Bas-Relief Painting, G.E.C. Line 1, 2020 Drawing in Crayons, G.E.C. Line 2, 2020 Drawing in Crayons, G.E.C. Line 2, 2020 Drawing in Crayons, G.E.C. Line 2, 2020 Bas-Relief Painting, G.E.C. Line 2, 2020 Bas-Relief Painting, G.E.C. Line 2, 2020 Bas-Relief Painting, G.E.C. Line 2, 2020 All-Round Painting, G.E.C. Line 2, 2020 All-Round Painting, G.E.C. Line 2, 2020
  FRANCESCO ZORZI (Italy) Francesco Zorzi is a multidisciplinary artist based in Amsterdam working with a wide variety of mediums, informed by his background in design, his love for the world of Color and his fascinations into the mechanics of vision, perception and interpretation of reality. His works are united by the quest for the qualities of what makes us ‘human’, reflecting on how we interact with what’s in front of our eyes, how we make sense of it and how we explore the inner-worlds we create with it. His explorations - whether dissecting Colors or Shapes - can be seen as an ongoing study on the structure of their inner components and the interaction between each other. These abstract configurations are like fragments of a kaleidoscope in perpetual movement without a beginning or an end, offering the viewers a moment of reflection, new playgrounds for exploration and wonder. His visually ambiguous wax-crayons works, are an investigation on Color in itself: its visual perception as well as the duality of Color as both lightwave and matter. Each artwork is the result of a complex layering of various wax-crayons sticks of different tones, applied next to and on top of each other, creating an ever evolving, ever pulsating flux of constant dynamic movement. The appearance of their colors and the structure of their wax influence directly the ways they interact and ‘talk’ with each other, mutually attracting or repelling one another. They can create harmony or tension. Sometimes they blend and dance together at different speed, in an homogenous flow or in multiple streams and directions. Sometimes they clash and come into conflict with one another. These brightly-hued abstract artworks are as much about color as they are of about emotions altogether: on one side they explore the phenomenological impact color has on human perception (seen from the point of view of the viewer being in front of the artworks); on the other they interact with the ineffable emotions and sensations guiding the process of mixing the crayons (seen from the point of view of the artist producing the artworks). The colors of each artwork are immersive, physical and tactile, just like the process of its creation: Ethereal and vibrating but also palpable and present at once.