Mauro Vignando was born in Pordenone (Italy) in 1969 and he currently lives in Milan.
Mauro Vignando's series of Black Paintings (I admit they are not walls and yet I still feel the need to set the questions within the framework of these references) are pictures of large size, and not strictly monochromatic as part of the coat of paint has been intentionally removed in what is almost an act of vandalism. Pictures painted in a uniform black that absorbs the light, mock walls where a simple gesture is held, condensed, and crystallised. Vignando charges his painting with his shoulder to impress the autobiographical trace of his passage; to leave the signature of his body. Is he undermining the painting? Or completing its representation? In the end he deliberately leaves it poised between pure abstraction and attempt at figuration.