Riccardo “Corn79” Lanfranco
In 1996, the beginning: a first approach with mainly casual supports, as a Graffiti Writer. Up until now, Riccardo’s artistic path has expressed a legacy with muralism, in its widest expressive range, with an approach towards public creativity which makes urban requalification its trigger and reason for being. From this standpoint, Corn79’s distinctive graffiti signature style is a combination of original calligraphic solutions, coloring effects, geometric shapes and their conciliation with an urban setting.
And not only that. In fact, Corn79’s current career does not involve only graffiti, as it branches into a heterogeneous and disparate way, free from continuum: from walls to urban art, canvas, all the way to installations. Different materials, media and supports interchange to express a research which breaks boundaries giving way to an eclectic mix.READ MORE
In Corn79’s works the graphic design trends of the seventies conjoin with influences from psychedelic art, which tend towards a kind of mysticism tinged with both oriental and western flavors.
Complex artwork, in which it is easy to abandon a univocal point of view and to find apparently contrasting inputs and cues, which vary according to the watcher’s inclinations. A reference to futurism – in search of that “geometric and mechanic splendor” described by Marinetti – which one can interpret as a personal reinterpretation of the kinetic laws dear to Optical Art; or associate with pure form, as typical of modernist aesthetics.
In an analogous manner circles, always present in Corn79’s work, can be read as Mandalas or Yantras, and at the same time be recognized as the ideal shapes imagined by Pythagoras and Plato, and later on referred to by Bohm.
Sacred geometry, the mechanics of two-dimensional shapes which long for three-dimensionality, Mandalas and Op Art righteously combine in an aesthetic research which can be interpreted as a revelation of an individual and collective unconscious, disclosing a kind of “syncretism”.
Corn79’s work can thus be understood as an attempt to merge creation and fruition, in search of the perfect shape, able to embrace a many-sided and indefinitely extended “everything”, something which could reconcile single perceptions with a circular unicum, infinitely interconnected with itself.