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The Maquignaz Code expresses the intensity of his work, that is to say, the unbreakable connection between body and soul, the physical and the spiritual, the ephemeral and the eternal.

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THE TRIPTYCHS The first panel

In the first panel of his triptychs, Gabriele puts forward his idea of art as the only possible means, for him (and for mankind), to penetrate the mystery of life and death, a veritable manifesto:

I make the invisible visible
I overcome the boundaries of time and the limits of space
I codify form
I make the death of matter visible
I make the form, and hence the soul of man, visible
I make soul and matter indivisible
I overcome the limits of the mind and the confines of art
I return from infinity to retrace the beginning
I see the light of the new dimension
I keep living beyond matter, beyond form, beyond time and space, two thousand and nineteen years after Christ

THE TRIPTYCHS The second panel

The second panel of his triptychs is where the artist makes a cut in the canvas, a cut that is deliberate, hard, and free from doubt. Surely, at first, this brings to mind Fontana’s slashes, dada and pop art, a gesture as the artist’s signature. But immediately afterwards, we realise that there is more to it: the cut alludes to something deeper, to the parting from life, to death.

Gabriele explains:

«Through my considered and codified cut, I make the invisible visible. The gesture produces a cut that represents death through the shape of a skull, indicating at the same time the end of earthly things and the soul of man».

While matter dies, life continues in a different form.

movimento artistico aldilà

THE TRIPTYCHS The third panel

And here is the third panel, where the artist places the oval shape of a skull, and in doing so restores its physiognomy.

«Through the physical transmigration of the form cut into the canvas,»

he says

«which occurs in the second panel, where a new figure comes to life, the soul continues its journey in its new dimension, that of eternal life».

It is a Christian, religious vision, but it is also secular.

The vision of the new life of the soul in the afterlife, which continues endlessly, appears briefly in the symbolic face of Christ, not unlike when, shortly before, the vision of death, the end of matter, appeared through the cut.

Maquignaz goes on to say:

«With the cut, I make a firm point in time and space. With my gesture, for a brief second, I see the new dimension, a dimension that is unknown to man, but, in actual fact, is so close to man’s soul».

The new dimension is also humanly reassuring, in that, only matter dies, life continues in another form forever, in an eternity where there is no space, no time, no form, no matter. Meanwhile, the shapes through which the artist expresses presence and absence, life and death, are incisive, colourful, obtained through primitive and naïf strokes. The backgrounds of the triptych, which comes in variants, are not always white; they can be blue, fuchsia, ivory coloured, like the face of Christ taking on his human form in a thousand shapes and colours, even with eyeglasses, even in female form. Veritable icons of contemporaneity, having a characteristic, unmistakable stylistic hallmark of their own.

espressionismo astratto


Maquignaz Code - Afterlife - 2017

mixed media: mirrors, acrylic paint, images on paper, silicone and oil colours, onyx, on canvas
60x80_ 60x80_60x80 cm

Maquignaz Code - Black Christ - 2014

oil and acrylic paint on canvas
60x80_ 60x80_60x80 cm

Maquignaz Code - The Holy Shroud - 2014

oil and acrylic paint on canvas
60x80_ 60x80_60x80 cm

Maquignaz Code – New Dimension - 2014

oil and acrylic paint on canvas
60x80_ 60x80_60x80 cm

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