The work originates from the idea of a “false” inlay, constructed not from a predetermined image, but through the assembly of irregular fragments, like scraps, that find their form only through the necessity of filling a surface. The materials simulate wood without truly attempting to imitate it. As in Cubist collage, the material produces an image rather than conveying a material truth.
The shapes, set within coloured fields, function as abstract scenes, compressed and ambiguous environments. I Salotti evokes spaces of encounter and confusion, like parties glimpsed in passing: overlapping images, lights, shadows, and fragments that remain deliberately undefined, conveying a visual complexity that remains open and abstract.
Andrea Sala
I Salotti, 2026
Painted wood and adhesive films
31 × 25 × 1,8 cm
📸 @lucaperu
The abstract brushstrokes of Helen Frankenthaler resonate across these glass slabs, whose shaped edges are designed to rest on ceramic shelves.
Each surface has been sandblasted and coated with Bondo, an American plastic filler tinted with oxides, introducing a dialogue between high art practices and the aesthetics of DIY culture.
Andrea Sala
Untitled, 2015
Glass. bonds colored with oxides, glazed ceramic
107 X 78,5 X 10 cm
Throwback to Homo Faber 2024 – The Journey of Life
Artistic direction by Luca Guadagnino and Nicolò Rosmarini
Sulla schiena una scena, 2024
A scene of shifting lagoon colors at sunset, turning the garden into a landscape of animals in fleeting light.
📸 @marcocappellettistudio and @ginevraformentini
In Di terra, di buchi e di nuvole Sala returns to travertine, choosing its porosity as fertile ground to explore the passage of time in landscapes in relation to the time of memory. The sculptures, placed on the ground, appear as fragments emerging from an interior topography. On the back, pigments leave light traces and heraldic combinations, almost shadows of a geography in motion. The straight lines, reminiscent of window frames, attempt to capture portions of the landscape in contrast to forms that evoke clouds in motion and dissolution, where the imperfections of the material—breaks, fissures, voids—become an active part of the sculptural gesture.
Andrea Sala
Di Terra di Buchi e di Nuvole, 2025
Travertine and pastels
80 × 51 × 9 cm
📸 Giulia Petroletti
