Alessio Tasca, Sculpture, 1960s, Stoneware

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Beautiful extruded stoneware sculpture by the artist Alessio Tasca. In excellent condition, signed on the side.

Alessio Tasca, ceramist and … Read more Beautiful extruded stoneware sculpture by the artist Alessio Tasca. In excellent condition, signed on the side.

Alessio Tasca, ceramist and designer, was born in 1929 in Nove (Vicenza). On October 24, 1948, together with his brothers Marco and Flavio, he founded the Tasca Artigiani Ceramisti workshop at Via Mulini 6 and began creating a series of models inspired by the Nove tradition. The commercial failure of these models prompted the young Alessio to develop a series of "modern" ceramics aimed at a different market, more attentive to the postwar demands for renewal: this led to the first plates decorated with "graffito" on a green or brown background, in a wide variety of patterns. In 1949, he participated in the first exhibition of his career at the Fifth Italian Exhibition of Sacred Art at the Angelicum in Milan, where he displayed a terracotta Annunciation that, through the influence of Petucco, traces directly back to the sources of Martini's sculpture. In 1951, his participation in the Milan Triennale with his "earthy" and engraved plates, selected by Gio Ponti on one of his frequent trips to Nove, met with considerable success; the unique nature of Tasca's work attracted the attention of Milanese gallery owner Totti, who acquired the works for his gallery. In 1952, he participated for the first time in the Venice Biennale in the "Venice" Pavilion for Decorative Arts, with "vases and plates." In 1954, he participated in the Venice Biennale, presenting a "Majolica Table" and two "Trays with Figures" in "Morelli Green." He left the "Fratelli Tasca" workshop in October 1961 and opened his own studio on Via Roberti, designed by Gaspare Parolin, who was still an architecture student. There, he focused primarily on shaping a series of large-scale one-off pieces, thus returning to true sculpture. He returned to teaching in 1962, succeeding Giovanni Petucco as Chair of Plastic Arts at the Istituto d'Arte di Nove, where he remained until 1978. It was here that he formed a group of friends and colleagues—Pianezzola, Sartori, Chemello, Tubini, and Sebellin—who pioneered a renewal of the curriculum and teaching methods. At the 1964 Venice Biennale, again in the Decorative Arts section, he was awarded First Prize (ex aequo with Pompeo Pianezzola) for ceramics. At the 1966 Gubbio Biennale, he won First Prize in the artisanal section for his large "lobster red" majolica shield. In 1967, with the assistance of Ettore Leoni, a technician from Novi Ligure, he developed the first extruder, a machine that allowed him to design and extrude his first rectangular-section works. He exhibited them for the first time in Treviso on January 4, 1968, at the "Studio d'Arte Arturo Martini." That same year, he participated in the 14th Milan Triennale with 17 extruded pieces, including the cornovaso, perhaps the most representative "shape" of this cycle. The Triennale was occupied as part of the 1968 protests; Tasca actively participated, destroying all the works that were to have been exhibited. In 1972, the Victoria and Albert Museum purchased a Cornovaso, which is preserved and still displayed in the Decorative Arts section of the London museum. The international jury of the 15th Milan Triennale, where he exhibited ceramics and acrylic glass, awarded him the Gold Medal Diploma for his methacrylate creation, created by the Fusina workshop in Nove based on his own design. Using a larger die, in 1974 he extruded his first large-scale sculptures: the "Sfere" series was born, created from a cylinder extruded on a grid matrix. His artistic contribution thus definitively returned to sculpture itself. This piece has an attribution mark,
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