The Italian abstract artist Piero Dorazio begins to paint at a zero point for the fine arts. Following World War Two, he embarks on a quest to find his own visual language: One that doesn’t illustrate anything but suffices entirely on its own. Through his paintings and sketches, the artist creates virtual colour spaces. In the spirit of Kazimir Malevich and Paul Klee, he pushes the abstraction of colour to its limits, translating visual art into subtle poetry.
Dorazio’s biography as an artist reads like a picture book: In 1947, he joins the École des Beaux-Arts in Paris. There, he meets Henri Matisse and Georges Braque. In 1953, he starts teaching at Harvard, where he meets Willem de Kooning and Robert Rauschenberg. He begins to receive invitations to the great international art shows: to the documenta in Kassel, Germany, to the Biennale in Venice. In 1961, he receives the renowned Prix Kandinsky.
Dorazio, however, longs for silence. He retreats into a deserted monastery in Italy where he creates works of art that merely appear simple because they are crafted from a place of technical perfection. Today, Dorazio’s life’s work is being rediscovered as a result of the big comeback of the ZERO movement.