Livio seguso biography template

At this point, it is necessary to reflect on the artist’s graphic activity that began as a child with the study of drawing under the guidance of the secessionist painter Vittorio Zecchin. When Livio Seguso felt his passion for glass, he realized how important this art was in defining the form he perceived in his imagination and determining the execution process. In the early days, he confined himself to basic sketches, perhaps hasty but essential to make clear the idea and the implementation purpose he would put in place to bring his plan to fruition, to make it easier for his collaborators to support operations. Later, the artist also treats his drawings with chalk, colored pastels, and watercolors techniques that make them very interesting and pleasing.

• Italy

  Art Brokerage: Livio Seguso Italian Glass Artist: Born in 1930 in Murano, where he still works, Livio Seguso began his life-long affair with glass from a very early age, fascinated by the inexhaustible appeal of that wonderful medium. After having achieved an in-depth knowledge of the traditional glassmaking techniques, and stimulated by his strong artistic sensitivity, this artist turned to plastic forms, and his research led him to explore with avid interest the world of the of the great masters of contemporary sculpture. In those years, glass was not used as a medium of mere depiction, but it was in itself the very object of his artwork. Seguso's mastery of his medium was such that it allowed him to express himself completely without being hampered by the limits of craftsmanship. The artist fully revealed the infinite potentialities of this mysterious material in an endless variation of spaces and thicknesses, always aiming at an absolute purity of forms. Livio Seguso reached his full artistic maturity in the late 70's, when he totally abandoned the Murano glassmaking heritage, however noble, and began to focus on clear crystal, changeable and ambiguous in its transparency, the perfect medium for the artist's uncontaminated imaginative vision. His sculptures could then manifest themselves in forms of absolute purity, non-mimetic and non-representational of anything, reaching out to seize the principle of a visible event that was undisclosed before that moment, and, in doing so, reveal the personality of the artist, attracted by synthesis and icastic form. His sculptures thus became Images of Light that seem to adapt themselves to thought only to fade away into a series of oneiric forms.In recent years, his artistic research overstepped the confines of the medium used, experimenting with other materials like steel, rock, marble, and granite, and, more recently, wood. His artwork also took a departure from his pr

Livio Seguso was born in 1930 in Murano, where he still actively works today. He began his relationship with glass at a young age, fascinated by the endless enchantment of this marvelous material. After an in-depth experience with traditional techniques, the artist, stimulated by a strong artistic sensitivity, embarked on an interesting and personal exploration of sculptural form that led him to explore the world of the great masters of contemporary sculpture with considerable interest.
His knowledge of the material allows him to fully express himself. In fact, the artist manages to reveal the infinite potential of this mysterious material, in an incessant variation of spaces and thicknesses, always directed towards an absolute purity of form. Livio Seguso’s artistic maturity reached its peak at the end of the 1970s, when he completely abandoned any trace of the noble Muranese tradition, giving space only to pure, shimmering and ambiguous crystal in its transparency, in an unadulterated imaginative vision.

Livio Seguso in 1980

His works were able to manifest themselves in absolute forms, not mimicking anything, aimed at capturing the principle of a previously unknown visual event and revealing the artist’s personality, attracted to synthesis and icastic form. In this way, his sculptures become images of light that seem to adapt to thought and then disappear into a series of dreamlike forms.
Later, his research goes beyond the material used and expands towards the use of other materials, such as steel, stone, marble and granite, and finally wood. Furthermore, his work is modified compared to previous circular or elliptical creations, to conceive volumes arranged according to a geometric order.
For all intents and purposes, this is an operation that leads to an ideological turning point that will lead the artist to an enrichment of his expressive possibilities, which does not only concern the poetics of materials, since at the sam