1974-1977 SIMPLIFICATION GRID

Like every communicative process where what has already been expressed and tested becomes a memory for fresh developments, the expressive route taken by Rizzato, too, underwent in this period a significant reduction of the evidence accorded to a plastic solution. If further repeated, that solution would certainly have made the work more recognizable, but it would also have increased its transformation into a stereotype.
Starting, then, from the same module previously identified and proven, in this phase Rizzato reduced its complexity, by increasing the differences in the size of the cuttings and invading the whole field. From it emerge areas that differ sharply from the point of view of their plastic substance and in the complexity of figures present in a single zone.
Whilst the course of his earlier works was entrusted to an element superimposed on the background, the two elements now began to interact on the threshold of identification. In this way a disciplined, “rhythmic” progress is exalted in a musical sense between the time of its appreciation and the physical space of the composition.