296 - TOMMASO CASCELLA (Rome, 1951) - Lo Zodiaco in rima di Daniele Sassoon (2020)

TOMMASO CASCELLA (Rome, 1951) - Lo Zodiaco in rima di Daniele Sassoon (2020) Mixed media and collage on cardboard adhered to a wooden panel. Dimensions: 57 × 39 × 5 cm each. Complete set of twelve original works of an abstract and symbolic nature, conceived as a visual interpretation of the twelve signs of the zodiac based on the poetic texts of Daniele Sassoon. The series presents a remarkable aesthetic and compositional unity, articulated through an intense chromatic range dominated by ultramarine, cobalt, and turquoise blues, combined with black, white, and gray surfaces and small accents of gold, red, and silver. Each composition develops its own visual universe through the superimposition of irregular geometric shapes, collage elements, sinuous lines, and delicate structures of connected dots that evoke celestial constellations. Against the intensely colored backgrounds appear stars, circles, signs, and stylized figures that symbolically allude to the different zodiac signs, establishing a dialogue between geometric abstraction, astronomical representation, and poetic evocation. The arrangement of the twelve panels allows the whole to be appreciated as a large modular composition, in which each work retains its formal and narrative autonomy while participating in a common visual structure. The use of superimposed materials, surfaces of different textures, and calligraphic-looking graphic elements lends the pieces a remarkable material richness, while the chromatic contrasts and references to the firmament introduce a cosmic and symbolic dimension. The series reflects the artistic language of Tommaso Cascella, an Italian artist from a prominent family tradition of painters and sculptors, whose work is characterized by the integration of abstract forms, geometric structures, and symbolic references linked to nature, writing, and the universe. Its formal conception shows affinities with certain compositions by Joan Miró (1893-1983), especially in the use ...