Catalogs and artworks

Antonio Saporito and his own undisputable personality has been complimented upon by art critics such as Paolo Levi, Luciano Carini, Giorgia Cassini, Paolo Turati, Vittorio Sgarbi and more. Read online the art reviews that have been published on the editions of the catalogs dedicated to the artworks of Antonio Saporito. They have been written by important art critics who have a thorough knowledge of Italian and international contemporary art.

Art reviews are published on:

ANTONIO SAPORITO, Abstract geometries, LITOGRAF, Rosta (Turin), May 2006

ANTONIO SAPORITO, Anthology, shapes and colors, LITOGRAF, Rosta (Turin), May 2010

ANTONIO SAPORITO, Geometric Space, LITOGRAF, Rosta (Turin), May 2010

ANTONIO SAPORITO, Spatial ideas and steel mutations, LITOGRAF, Rosta (Turin), 2018 (soon to be published)


Giorgia Cassini, former director of the Italian Pavilion at the Biennale of Venice. Here are art reviews by Giorgia Cassini published on the editions of the catalogs dedicated to the works of Antonio Saporito.

Art reviews are published on: ANTONIO SAPORITO, Spatial ideas and steel mutations, LITOGRAF, Rosta (Turin), 2018

See more...


Art critic Luciano Carini, adjunct curator and member of the Commission of the Guatemala Pavilion, one of the most admired of the entire 56th Venice Art Biennale. The critical texts of Luciano Carini about antonio Saporito are published on the editions of the catalogs dedicated to the works of Antonio Saporito.

ANTONIO SAPORITO, Anthology, shapes and colors, May 2010

ANTONIO SAPORITO, Geometric Space, May 2010

See more...


Paolo Turati, sixty years old, economist, university professor, columnist, essayist, novelist, golfer, pianist, critic and art collector

Art reviews are published on: ANTONIO SAPORITO, Spatial ideas and steel mutations, LITOGRAF, Rosta (Turin), 2018

See more...


Vittorio Sgarbi italian art critic, has commented on numerous works by the most important painters in history and is the author of numerous essays.

He was curator of the Italian Pavilion at the 54th Venice Art Biennale and Member of the Italian Parliament since April 1992.

Here are art reviews by Vittorio Sgarbi published on the editions of the catalogs dedicated to the works of Antonio Saporito.

Art reviews are published on:

ANTONIO SAPORITO, Abstract geometries, LITOGRAF, Rosta (Turin), May 2006

ANTONIO SAPORITO, Anthology, shapes and colors, May 2010

ANTONIO SAPORITO, Geometric Space, May 2010

The judgements of Sgarbi

Editoriale Giorgio Mondadori, 2005

Antonio Saporito in his abstract and geometric work often alludes to the recognizable. His language reflects a condition out oh reality only in appearance. In his visual experimentation appears imprinted to a severity that seems to leave no space for fantasy, in reality this artist expresses emotions and thoughts that become signs and substance.

New York, Antonio Saporito

New York city, 2000 acrylic enamel and collage technique on aluminium, 60x40 cm

For example, the technique mixed on aluminium dedicated to the city of New York, communicates a sensation of something that goes well beyond pure geometrical assembly; the semicircle that alludes to the moon and the light rectangles that stand out against the nocturnal background, evoke an urban structure of skyscrapers revisited like a visual essence in an existential model. New York under the moon becomes in the elaboration of this artist, a sort of reference model, since in this work the visual components that construct the stylistic figure appear exemplarily articulate.

The call to euclidic geometry becomes therefore reelaborated in an imaginative and even ludical key, above all when optical effects are developed based on points, cuts and decorative games that appear misleading exactly in that they are narrative ideas for all explicitly suggested in the titration proposed by the artist.

Saporito therefore willingly puts himself in an illusive situation of uncertainty between the severity of his geometrically ordered propositions and the pleasure of presenting a trauma that decodes a reduced form in pure synthesis.

If then he uses publicity trademarks such as Mercedes, the game becomes uncovered in that it puts an ironic significance on the sacred icon of consumerism.

The use of aluminium as the predominant element in these collages, that can best be described as bi-dimensional chromatic sculpture just as material paintings, define the moving of colored enamel along the lines of a preconstituted order.

This fact moves the discussion towards more complex messages that seem to belong to a puristic predisposition and a methodical analysis of the special potentiality of re-figuration.

But his versatility is also exercised in more disturbing operations such as the one which reduced the Tower of Pisa into a big plexiglass container of which moreover, represents the most appropriate and truthful portrait of this totem of mass touristic voyeurism.

Saporito’s way of movement is that of who has the knowledge of how to represent the apparent condition of objects, carrying out processes of expansive significance and formal restriction proposing a poetic synthesis based on analogy, on illusion and on a primary signal of immediate legibility.

His monochromatic backgrounds establish static equilibriums, which in their abstract appearance, communicate a virtual and purified reality where the illustrative element puts itself on a semantic plane of a symbolic communication.

In these cases, this objectivity of representation is entrusted to the projection and manipulation of material that adapts in perfect synchronicity to the calibrated rhythms of shapes and the outlines often extended upwards as the research of an infinite utopia. At this proposal, it’s a suggestive exercise of style, pictorial study and of collage dedicated to the theme of the scale, where a purely visual dimension is privileged, whose value is tied to a geometrically cold elegance and optically deceiving from a volume and spatial occupational point of view.

From “The judgements of Sgarbi" Vittorio Sgarbi

Editoriale Giorgio Mondadori, 2005

Tower of Pisa, 2003

Sculpture with plexiglas and photographic rolls

128x30 cm


Paolo Levi, is a contemporary art critic, journalist, essayist, author of thematic and monographic volumes. A solid experience in the relationship between art and finance is combined with the in-depth knowledge of the history of ancient, modern and contemporary art. He has written for the magazines Capital, Bell'Italia, Architectural Digest, Europeo, Mondo and with newspapers such as Il Sole 24 Ore and La Repubblica.

From 1969 he directed first for Giulio Bolaffi Editore and later for Giorgio Mondadori The National Catalog of Modern Art. Since 2010 he has been editor of the magazine Effetto Arte.


Antonio Saporito works with extreme elegance favoring a rather unusual technique. In fact his works are construed with a cold material, steel, modified by. In most cases, the overlapping of fragments and metallic sheets in geometrical shapes set a narrative visual of severe and austere beauty.

Furthermore, his arrangements express themselves only apparently in an abstract manner due to their being joined together by a highly specialized hand, where it is necessary to work with instruments and industrial processes; beginning with paint on sheets of steel, the perforations and the welding necessary to create the collages.

In the visual results of this complex work, Saporito creates, above all, the ideal of exposure to clarity in a pictorial language, essential for the economy of the elements marked that pass through the smooth and shiny surfaces of its background.

Referring in part to the guidelines of Constructionism, Saporito explores the space of his metal sheets, assigning precise geometrical shapes to them, not alluding to anything in particular other than their own evidence of being. Nevertheless, everything seems poetically pushed towards reconstructing the disharmonies of reality, re-routing them to the principles of mathematics and Euclidean geometrics. This is his way of working on clean signs and primary colors. His strictly meditative, positive planning focuses on bringing out the narrative potential of the overlapping metallic sheets as well as optical balance in various tones, where the willed lack of prospective escapes appear to be chosen in an unromantic way, almost enunciating an idea of living tied to the present, without looking behind and without entrusting opinionated statements for the future.

Spirale (Spiral) and Disegno Geometico (Geometric Design) are two examples of this work.

In the first case, a series of concentric circles and four triangles exist in a monochromatic space, while in the second case, there is an arrow which goes through a circle and semicircle. In these two works, the constructed visuals given from the bottom and from the marked arrangements, are almost of a tridimentional nature, where the lines and curves are cre-ated by small, round grooves and colored segmentes. The shiny backgrounds, one grey and the other a lovely wine red, reflect on light in a game of premeditated tones.

The arrangement Soluzione Astratta (Abstract Solution) is moved towards the blue tones, azure and red. This structure is very similar to the two preceding works but all are concen- trated on the geometric rectangle and triangle forms. However, the rigourous self-reference of titles given by the author is highlighted, thus leaving no space for subjective interpretations, but rather the purest form of self-definition regarding what was created. This can be rightfully found in the arrangement (Composizione Geometrica) (Geometric Arrangement) with the grey background and Composizione ( Arrangement) with the green background.

The discussion at hand concerns two collages. In the first collage, the overlapping of cut out polychromatic triangles and the four white rings offer a polymorphic form, which seems to hover as if in flight or escaping the observer. In the second col- lage, brass cut in triangular fragments radiates a rythmical escape and is restrained by four strips of ashlar material which also appears in segments in the central framework. Finally, a steel quadrilateral in its natural color, defines the focal point of a reassuring space which is placed in a serene order and is coherently harmonic.

Spiral, 2008


Angelo Mistrangelo, art critic and journalist, writes about figurative art for La Stampa. He collaborated with the publishing houses Mondadori, Fabbri, Priuli & Verlucca, Bolaffi, Mazzotta; he has collaborated on the cultural pages of Il Giorno, Stampa Sera, Paintings and Sculptures, Men and Books and much more.

Here are art review by Angelo Mistrangelo published on the editions of the catalogs dedicated to the works of Antonio Saporito.

Art reviews are published on:

ANTONIO SAPORITO, Anthology, shapes and colors, May 2010

ANTONIO SAPORITO, Geometric Space, May 2010

Spatial materials and geometrics

Antonio Saporito's journey unravels towards a continuous, inexhaustable and vital research of new materials in order to create his geometic-spatial arrangements. A notion therefore, that belongs to a tendency towards extremely rigourous abstractism and in some cases, accompanied by definite espressionist pages marked by vibrant colors, furrowed with sharp and ferrous markings.

In such dimension, the keynotes always tied to one's own interior are highlighted, as is the vision of a reality transformed in significant signs towards the flow of a color laid out with care on aluminum surfaces.

Saporito, in any case, always has the peculiar will to set the triangles, rectangles, circles and pyramid forms that appear as documents of clear execution which are never taken for granted, making them an incessant and vital part of the subject.

The attention addressed to unexplored space, the rarefied and mysterious atmosphere, the calibrated definition of the spirals, they all establish an immediate relationship with the observer and he who lingers to «read» its essential shapes «constructed» with energy and subtle musical tones which pass through the entire work.

And so, small and precious bars, enamel on steel, the acrylics from «Verso lo Spazio» (Towards Space), which express the measures that Saporito is capable of, trasmit sensations and new ideas related to his expressive research, while alternating between full and empty space, forming patterns and segments, perforations and monumental sculptures.

In his study-laboratory, the steel bars, the collages, the plexiglass sculptures, the accumulation of recorded memories, the spaceships and the copper nets, permit to collect the essence of his itinerary and that regained secret charm found in a bright red light, a line that determines the force of gravity, illustrating a human thought, suggesting the climate of an evocative writing with scales, rare shapes and forms, memories, games, hourglasses that tell the stories of adventures and the evolution of society. Saporito therefore brings back painting and sculpture into that gathered and intimate universe that belongs to each one of us: hidden, secret and magically memorized. Nothing is left to chance, improvisation or thought of at the spur of the moment. Each work is created with the knowledge of transmitting the emotion of a moment, formed by light and color and the purest of shapes and forms.


Guido Folco, historian and art critic, independent curator, editor and director of the monthly magazine Italia Arte and of numerous other publications, professional journalist is director and president of the MIIT Museum in Turin, the exhibition museum space of the ITALIA ARTE publishing group.

Antonio Saporito has participated in numerous national and international exhibitions of modern and contemporary visual arts organized by the Guido Folco Gallery in collaboration with the monthly Italia Arte.

Here are art review by Guido Folco published on the editions of the catalogs dedicated to the works of Antonio Saporito.

Art reviews are published on:

ANTONIO SAPORITO, Anthology, shapes and colors, May 2010

ANTONIO SAPORITO, Geometric Space, May 2010

Journeys of light and geometric shapes

Antonio Saporito can be considered one of the most authoritive interpreters of the Italian artistic panoramas of today. A dutiful acknowledgement that follows some of the highlighted publications and institutional exhibits, fundamental in Saporito's journey during the last ten years.

One can seek the fine line which separates a master from many artists, however valid, which are present in the field of painting, within the capacity of defining his own language well, developing through research and experimentation, with coherence and innovation, remaining however faithful to his own idea of art.

Antonio Saporito's works are witnesses of our world today, technologically advanced, but keeping an eye on the value of tradition and the international figurative culture of the 1900s.

The focal point of his vision is the work on materials, which range from reinforcements made with sheets of steel to the insertion of colored sponges, rope, plastic and resins. The geometric cuts of the steel reinforcements, that design artistic space, become an integral part of the work which is joined by a refined chromatics that follow the mathematical course.

The third dimension is now given by a perspective view but rather by the overlapping of materials, cuts, and holes, that create aspects of shadows and light, especially when the light grazes, therefore revisiting the concept of Space in an actual key, between synthesis and a chromatic story.

In recent works the pictoral intervation has been transformed into free expression, disturbing the certainty of the formal rigour of form in order to create a language which is more dynamic.


The background becomes the protagonist

Within the artist Antonio Saporito, there live two souls: one soul represents the painter, the other represents the sculptor.

In fact, his search for space and his search for chromatic balance and the need to crystalize the idea in the materials, join forces finding a potent liveliness in the steel arrangements.

Master of an uneasy task, Saporito works the metal with notable ability maintaing the material's autonomy and matching the aesthetic nuances in an outline that unravels boxes, loopholes, and perforations, all cleverly orchestrated in a plan which only seems to be apparently cold given the presence of steel.

Boxes, loopholes and perforations, which become entrances toward another world situated who knows where, perhaps present only in the artist's fantasy or even more realistically laid out within the fascination of our unconscious mind which pushes us toward universes which are dominated by dreams.

Persuing a creative process maintaining the intention of keeping his own reference point in balance, Saporito always places chromatic presences behind those openings or lets the shadow or the paleness of the supporting structure suggest a tridimentional aspect which proposes to to the observer of the work to always pay attention to the background support.

Steel is infact the protagonist within the works of this capable artist: The metal transforms itself in sort of a link which joins together the spaces that Saporito would like to connect; finding elements able to suggest a sort of historical continuity between past and present, between this world and another.

Significantly, in some of his creations the solution is shaped with conformity and is helped with balanced collages along with the multicolored metallic materials which are joined. Therefore subjects such as pyramids and other structures reminding one of civilization that have since disappeared are able to find a place. The issue at hand is not sterile citations that have become part of rhetorical archeology but rather a clarification of an important theme which has brought together those cultures: Geometry.

Giulia Sillato

The idea and the materials

Art works produced after 1990, tend to reexamine the most important artistic journeys of the second half of the 1900s bringing with it innovations, often intelligent and at any rate connected to the turn of the century's technological evolution, unable to subtract the invasive events that mark it.

This is Antonio Saporito's case, an artist from Turin, intially close to the so called "modern figurative" art form from the 1950s, which he subsequently re-elaborates in abstract points, but according to expressive coordinates evoked by the surveyor Luigi Veronesi.

The passage of the underlying structure in canvas and metallic materials, his specific flow, did not occur repetitively but rather through sequential meditation which values shape and color, therefore inducing him in the end, to totally eliminate the decorative incidence in order to maintain the clean and essential handling of the metallic surfaces with effective ability and thus pointing out the dichotomy of art, however maintaining himself within craftsmanship mastery, above all in his most sublime expressions.

The geometric pictorial elements that support the arrangement and are determined by architecture, planning and expression, are reabsorbed by the metallic bodies on the surface and take on the configuration of the single, very deep and large cuts, which substitute the classic oil on canvas organization, and with enamel on steel, give life to a kaleidoscopic imagination of an allusive, fantastic world made of symbols and Hitchock-like dreams.

Here, Fontana's citation is inevitable as is also inevitable, the accent on Saporito's absolute originality, which resolves the drama of an end of the work , which is only presumed (as Fontana's cuts left to intend) in splits of depthness open on translucid and multicolored planes.

The art of radical ideology, which in fact was popular in the 1960s and 1970s, gives way to more "positive" and colored aesthetics and transmits a more pleasent and constructive sense to life.