1969-1974 SERIALITY MODULE / NUCLEUS

In this phase Rizzato studied the possibility of an iteration which could invade architectural space, while relinquishing the idea of the single painting. The title Percorso, already present in a number of works done in earlier years, acquired, due also to the dimensions handled in certain installations, a physical and environmental quality.
Working with transfers, rotations and reversals of colour, always maintained on the opposite threshold of black and white and of pure colour, his work presented itself as a “fragment” that could be extended to infinity or to the choice of a circular, closed form.
This was the most rigorous point in the design of his work, when the individual passages, from the formation of a module to the identification of cuttings/windows within it, to the ultimate identification of a rhythmic trail blazed by the repetition of an identical figure, sprang from the overlapping of different grids on the field’s initial score.
Although the work was based on the two-dimensional effect, the formative path followed by the painting takes in different strata. So, if not perceived, an excavation in depth occurs, albeit limited to the thickness of the page that was later to become explicit.
Rizzato’s participation in the International Constructivism group was significant, for it enabled him to compare his strength with kindred work being done abroad. It also established his friendship with the British artist Donald Mills.

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