The phase is important in the trajectory that we have identified, because to the simplified form is added a lowering of the colour contrast between the background and the figures on it. What had previously seemed peremptory and unequivocal now began to appear “relative”, determined by the interlapping of different colours.
A number of solutions that had until then been frequently dominated by a strong discipline between the elements in play and simultaneously a number of more open and synthetic developments were resumed and reinterpreted. But this is the characteristic of work done “in the workshop”, where experiments with techniques and different materials lead not to the linearity of the process envisaged, but to unexpected and unforeseeable turning-points.
Rizzato took up drawing again as a workshop open to diverse solutions, a feature of his work that was also to become in any case decisive in its subsequent stage. Thus, between reinstatements and advances – for this was clearly a working evolution, not a judgement of quality on a debatable “progress” in the world of art – what was radically questioned was the polarity of contrasts towards a more gradual statement, still capable of “saying”, but in a graduated way verging on ambiguity.