1969, cardboard and plexiglass, 17 ¼ x 11in.
1971, paper, cardboard, paint, 10 ¼ x 9 ½ x 3in. each
1971, paper, wood, paint, 23 ½ x 23 ½in.
Claudio Rotta Loria was born in Turin in 1949 and today works between Turin and Banchette, where he lives. After studying at an Art Academy and Design School, he went on to graduate in philosophy.
After his first figurative experiences in 1968, he oriented his work toward contemporary studies on reducing the language of painting to its primary, elemental and concrete features. His experimentation is concentrated on two dialectical focal points: programmed and kinetic visual structurality and the poetic value of geometry, aroused by the slightest perceptual and sensorial stimulation. The resulting works constantly portray spatial and objectual implications, the key to follow through the development of all the work he has produced to date. It was in this way that he accomplished Rotazioni del quadrato (1969); Strutture reticolari complesse a pluripercezione (1970) and Cromoplastici (1970), where the fluorescent colour hidden from the observer by curved trellised forms creates effects of colours vibrating against the white of the picture’s surface; Superfici a interferenza luminosa (1970) almost nullifying perception, sensitising the monochrome surface of the paper by repeating short etched lines with the same inclination at regular intervals; Interventi d’ambiente (1971) elementary structures arranged in natural or constructed space; and Oggetti cinetici (1971) and Spazializzazioni di forme geometriche (1971).
In this period he was a member of the “Operativo Ti.zero” in Turin and was the co-founder of the “Centro sperimentale di ricerca estetica” (1969-1976).
During the 1980s, Rotta Loria explored, the sensitive, emotional aspects of painting, as an introspective search oriented toward spiritual and symbolic dimensions. Thus his works break the strict codes of the previous period, moving more freely in space thanks to the dynamism of the surfaces and balances, to the differing levels of planes, to a stronger objectuality –obtained by increasing the thickness of the frames – to the intriguing delicate combination of materials and a burgeoning “writing-painting”.
Over the next decade he worked on Spazi di trame and Spazi di tensione, works in which the vibrant repetition of the writing of the mantra gives rise to extremely sensitive chromatic textures that open up the surfaces to unfathomable perceptual depths, while small stretched bars and elastic cables produce effects of lightness and instability. The outcomes of this research can be found in many of the installations of this period featuring the use of light (neon, optical fibres and Wood’s lamps) and the inevitable relationship that binds the place and space to the work created.
In the new millennium, the artist has let loose all his expressive potential in a total, germinative, exhilarating spatiality. The work has gradually taken on new materials: the need to tackle the many interferences and imbalances of today’s world makes it more open to sensorial contamination and to combining different materials. “Archipainting” is the expression used to designate the work of Rotta Loria, seen as a three-dimensional dynamic construction that brings together design, aerial photography, painting, sculpture, colour, technological parts, everyday objects and fragments of symbolic meaning. The whole is balanced between essentiality and redundancy and always permeated by a strong internal tension that gives the work a new constitutional identity, while maintaining coherence and overall recognisability of the work.