creative oxidation
I have read, listened, written, drawn, painted, photographed, visited… Everything can be more interesting if you remain curious, if you do not lose the desire to learn and experiment. I pause to observe the contrasts of colors, the different points of view of a shot, the sound of synonyms with which the same thing can be described, the harmony of a painting. A note can also be color, poetry is also melody, an image can scream more than one word. The expression: that's all... it's all here. (Editorial Director - Art Director)
To talk about myself I would use the English concept of Language Enthusiast, with its bad translation into Italian. Years of study, travel and authentic and pulsating passion for what lies beyond the border converge in this expression. I have an indiscriminate interest in any culture and any person with a story to tell. I remain with difficulty compressed in my dimension, I feel the continuous need to push myself further. I can't stand the innuendo, the half sentences and the boredom of waiting rooms. Certainly communicative, analytical, I split reality into a thousand pieces and then reassemble it. I think and write in 4 languages, which I love all of them, because inside they sing me a beautiful song. (Editor - Translator).
What unites Piacentini's Architecture with Greenaway's Cinema, Munari's Design with Tiepolo's painting and Kandiskij's studies? What unites the election posters with the paper tickets we used for the tram? For visual culture, the challenge of the third millennium lies in seeing the red thread that binds each of its branches to tell the image and aesthetics. I would like to do it through a passion that comes from the tradition of classic cinema. After all, what is the history of Design if not the cerebral attempt to give a soul to matter, to plagiarize the form according to its most hidden meaning and all to be revealed? (Editor - Reporter)
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Is metal oxidation a simple or complex operation? It is certainly of an artistic nature.
Already tested for the Milanese Fuorisalone in June, now this technology is back as the protagonist for the PLANIUM brand which has created new textures with bright colors that are added to those obtained months ago.
The more iridescent yellow of the Brass accentuates its brightness, for "solar" peaks, just as the oxidized steel of the Gallery in the Design Week was instead "selenic" because it was inspired by the moon. Zinc yellow, swede, therefore clear and bright, far from the golden yellow with green notes of the initial Brass from which it now differs in terms of "brilliant". But also a Brass that tends to a bright Blue, cobalt, ultramarine.
Now new slabs enhance two different color contrasts with Copper and Brass.
The first shows a certain complementarity between the luminous copper in its natural state, in forms that recall emerged lands - with a bit of Matisse-like contours! - over the seas of blues and light blues of the same oxidized metal: tones ranging from cobalt to even the coldest periwinkle and cornflower.
Also the other plate, this oxidation of the Brass, goes a little on the theme of morphology and here we could say that the contrast of colors is perhaps less accentuated, by virtue of the fact that we find once again the earth-water chromatic theme ranging from cedar brown to opaque yellows (sand, ivory) to marine greens such as Sage green, cold greens of undoubted elegance bordering almost with grays.
In fact, it should be remembered that Brass has a golden but cold hue that with oxidation breaks up into colors such as Cerulean, Blues, Turquoise, Ultramarine Blue.
On the PLANIUM shop you have an overview of the PLANIUM collection developed over the years, increasing the knowledge techniques of this timeless material that is the metal.
Steel, Copper, Brass in different treatments and aesthetic results for floors and walls at the service of architecture and design. Oxidation, as you can see, is not only the abstract one of creative textures, but also the one that follows a more orderly process for steels: the Stainless Steel that becomes oxidized takes on an autumnal brown color, whereas the Calamine completely escapes the chromatic rules of stainless steel because it has a much more transversal range of colors.
