Thought and Material

The conflict between thought and material, the obsessive striving to transform, to create, to give form to a dream, to the ideas and symbols of our innermost thoughts

Sandro Magnoler

Venice Treviso – 1960

Man has ceaselessly created, built, and erected the great material compositions. With an obsessive exploration of materials, he has given form to objects which by their very presence on the planet are – and will continue to be – the single-most proof of our existence; and, with the same steadfast commitment he has destroyed, renewed, and recreated them. A ceaseless exploration has contributed to making material the single most proof of man’s existence on the planet.


It is a conflict between material and nature, where the only judge is time: time, which relentlessly takes nature’s side and reclaims its spaces as material transforms, ages, and erodes. The slow metamorphosis of materials towards their inevitable demise is a process which can last for millennia or seconds. This path of suffering that leads materials to their end assumes different shapes, colours, transformations, uncertainties, and mutations which take on an extreme lyricism. The slow transformation of materials on their path of regret and dissolution generates colours and forms that can pierce our soul and make our unconscious tremble. In-depth observation of the path materials take towards their end, their mutations, their suffering in finding themselves rejected, makes its way onto the canvas. The painting is almost a form of respect towards those objects, our silent companions in life, objects which precisely because of their silence inspire our indifference. If we observe them in their various mutations, we realise that they have the capacity to move us. The endless, vibrating colours and shapes embody the great emotional range of our soul.


Sandro Magnoler was born in Treviso in 1960. Starting at an early age, he has been interested in all forms of art which can express the appearance and sound of our deepest emotional states. He has zealously frequented Milan and Veneto Jazz clubs, first as a spectator and lover of the musical avant-garde which reflects the profound emotionality of Jazz music; and then, interpreting and playing himself, as a bass musician. In this environment he matured through various collaborations, accumulating different experiences, in a search of an ever more sophisticated sound. Jazz music, the essence of sound, inspired the next phase of his artistic evolution: painting. Self taught by necessity insomuch as he has always been a stranger to academic settings (which overly temper the free expression of instinct, gestural action, and pictorial mark making), he finds find a special connection with real materials, their heaviness, thickness, absoluteness, and blackness. A decade-long constant exploration into non-pictorial materials has led Sandro Magnoler to build and represent these walls, absolute and eroded by time; he practically transforms them into myths, giving them an existence that will survive our bodies yet accompany our souls, all the way to the end of the world.

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