Pandora's Gift, 2020, Carrara white marble, pigments, ink, 1.17 x 1.17 x 7.08 inches

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Rifiuti sanitari pericolosi, 2020, limestone, ink, 18.5 x 14.9 x 7.87 inches

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Be Mephisto, 2020, Carrara white marble, pigments, ink, 12.9 x 8.26 x 8.6 inches

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Holder, 2006, sandstone of Sarnico, 12.2 x 11.4 x 12.5 inches

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Doner Kebab, 2008, white stone, ink, 19.6 x 7.87 x 7.87 inches

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Shut up And Dance, 2018, Belgium black marble, mobil size

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Shut up And Dance, 2018, Belgium black marble, digital tablet size

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Shut up And Dance, 2018, Belgium black marble, mobil and laptop size

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Oggetti scocciati #3 (studio per una natura morta), 2015, plastic bottles, paper tape, table, 47,2 x 27,5 x 51,1 inches

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Oggetti scocciati #10 cactus (détail), 2019, plastic bottles, paper tape, variable dimensions

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Oggetti scocciati #12 (waiting for the best fucking days), 2020, paper tape, wood, 39,3 x 47,2 x 3,9 inches

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Oggetti scocciati #11 (zero), 2020, paper tape, neon, 11,8 x 11,8 x 1,57 inches

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Oggetti scocciati #9 (François Le Clerc leg's set), 2018, wood, paper tape, variable dimensions

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Oggetti scocciati #6 (nature morte), 2015, fine art print, 13,7 x 19,6 inches

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Oggetti scocciati #3 (studio per una natura morta), 2015, plastic bottles, paper tape, table, 47.2 x 27.5 x 51.2 inches

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Oggetti scocciati #3 (studio per una natura morta), 2015, plastic bottles, paper tape, table, 47,2 x 27,5 x 51,1 inches

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Oggetti scocciati #2 (natura morta con occhiali), 2014, print art, 13,7 x 19,6 inches

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Exhibition view

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Oggetti scocciati #1 (nature morte au plafond), 2014, plastic bottles, paper tape, 11,8 x 11,8 x 7,8 inches

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Superposition #1, 2014, paper tape, architecture, 11.850 m. paper tape,12 days performance ​

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Superposition #2, 2016, 3.650 m paper tape, architecture, 3 days performance, exhibition view "do disturb" Palais de Tokyo, Paris, France

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Superposition #4 2017, paper tape, architecture, 15.100 m. paper tape, 15 days performance

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Ciao mamma, io esco, 2012-2019, warfare cartboard, foam rubber, plastic and scotch variable dimensions. Exhibition view "depiction of nature and society", Galerie Italienne, Paris, France

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Ciao mamma, io esco, 2012-2019, warfare cartboard, foam rubber, plastic and scotch, variable dimensions

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Ciao mamma, io esco, 2012-2019, warfare cartboard, foam rubber, plastic and scotch, variable dimensions

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Monuments (Genoa Social Forum dress code souvenir), 2022, bottles, tape, resin, glass, metal 29,5 x 16,1 x 66,1 inches

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Golden Gods (choir), 2012, melted coins, 9,8 x 9,8 x 2, 3 inches

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Golden Gods (lego), 2010, melted oins, real size

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Golden Gods (Payet souvenir), 2022, nordic Gold (melted €0.10 coins) 1,2 x 0,3 inches

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To Go Back #1, 2013, Carrara white marble, 5 x 3,1 x 0,010 inches

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Tools #3, 2020, Carrera white marble, steel, 7,8 x 7,8 x 10,6 inches

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Tools #2, 2011, Carrera white marble, steel, 27,8 x 7,8 x 10,6 inches

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Tools #1, 2008, Carrera white marble, steel, 9 x 0,5 x 0,1 inches

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Men at Work, 2009-2017, Carrera white marble, different sizes, variable dimensions

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TSORPM #1 (boxes), 2006-on going, 1032 different cardboard boxes, environmental installation

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Monuments (en plein air dinner souvenir), 2022, soapstone, glass, metal 29,5 x 16,1 x 44,1 inches

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TSORPM #4 (frame breeding), 2013 - 2017, 164 frames, gun powder on paper, different size, variable dimensions

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TSORPM #2 (disposable cutlery), 2013, 2377 different disposable cutlery, 59 x 393,7 x 7,8 inches. Exhibition view "rites et tempo", L'Atelier Blanc, Villefranche, France

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TSORPM # 7 - Volume 1, 2022, 456 pages, edition of 22,48 m2. With the support of the galleries / publication of the National Center for Plastic Arts

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But Italians Love Football, 2011, eleven shopping bags framed, 26,6 x 208,7 inches

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1/1

Luca Resta’s work stems from objects. The artist explores the social and cultural space he inhabits to refine a creative process linked to the practices of accumulation, reproduction, and transformation. Like a sort of contemporary archaeology, he explores the vertigo of the series through endless collections of everyday forms: disposable cutlery, plastic packaging, hybrid objects, cardboard boxes, and even more ephemeral elements. He investigates the narrative potential of these elements that gradually end up finding their place in his visual imaginary through an expanded idea of the sculptural practice. His artistic vocabulary—series and homologation, replication and standardisation, industrial accumulation, mechanical iteration …—enters into dialogue with his devices and his manual ability. From his visual experiences, multiple sculptural, sound, or architectural projects arise, thanks to which Luca Resta goes beyond the mere objects to explore the related and representative sociocultural logic, as well as to propose other ways of meeting between individuals and forms. Eventually, the aesthetic power of his artistic approach, hidden behind the idea of “common” form, appears thanks to new ways of looking.