阿格斯蒂諾·保拿奈米

瓦倫扎，Rino Costa畫廊
現藏者購自上述來源

義大利，米蘭，AS當代藝術工作室〈阿格斯蒂諾·保拿奈米1960-2003作品精選展〉二○○二年，40至41頁

This work is in very good condition. There is some light wear to the edges, primarily on the four corners of the work. There is light dust and minor scattered accretions across the surface of the work, only visible under close examination, consistent with the age of the work. Under UV: there is no evidence of restoration.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

六十年代之初，在國際研究界，阿格斯蒂諾·保拿奈米的作品具有自我表現、單色的嚴謹特徵，他的經典平面畫作透過模塊及幾何矩陣自由組合的結構，看似擁有了三維的可能性。保拿奈米將這些作品稱為「向外彎曲」，題目簡單以所運用的色彩來命名，彈性畫布於凸出的特別裝置上束緊，以呈現構圖中的浮凸的壓紋形狀，是真正的「畫作物件」。此方式使藝術家能以精確細緻的「向內彎曲」及「向外彎曲」過程創作，從而立體調節畫幅的表面，並透過外在光線帶來多變效果，創造出特定的空間維度。
上文選自弗朗西斯·波利編輯之〈阿格斯蒂諾·保拿奈米作品選集：1964-2008年〉之5及8頁