ALBERONERO – Studio di Miacromia

Series of Screenprints monotypes, 2-3 layers / each
70 x 100 cm, 2021
Old Mill white paper, 300 gm.
Limited edition of 10 – Each piece is a unique edition


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Artist info


Alberonero is a designer, painter and sculptor. Born in Lodi (IT) in 1991, at the age of fifteen he started writing poems and experimenting with painting in relationship to the physical space through graffiti technique, playing with letters, shapes and colors. In 2013 he graduated in Interior Design at Politecnico di Milano where he had the chance to merge theory with experience and developed a transversal approach to a creation able to connect thoughts with different disciplines. In 2012 Alberonero started focus on the study of color’s perception and on the research of a code that can minimize the visual language. For six years he intervened in the public space by painting sequences of colors ordered in a geometric grid, as instrument of investigation of the connection between mathematics, poetry and sensation. Since 2017 the interest of the artist moves towards the matter and the creation of devices made of poor materials which are linked to the building and agriculture’s world such as concrete, iron, wood, agricultural nets, but also fabrics, plaster and glass, telling us about a super-natural reality. The practice of construction finds form in these elements, in installations born from a careful listening of the site, by the will to "be place", to erase boundaries between the self and the outside and participate in the space in a poetic way. Alberonero realized installation projects, exhibitions and workshops in Italy and in different Countries all around the world including France, Ukraine, Spain, Poland, Germany, Indonesia, United States and Saudi Arabia.

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Signed and numbered by the artist / Printed by 56Fili

“This series of ten screenprints titled “Studio di Miacromia” enters the homonymous project by Alberonero as the final phase of the “play of color”, as its most instinctive and immediate side.

Realized starting from the excess color used for the plexiglass sheets, the color is this time imprinted on opaque support, questioning once again our sight’s perception. After the compositional effort, we return here to reason by decomposition: the parts are split up again and are placed back in their usual context.

As in a journey, we go home and find what is familiar to us, but our mind is open and we are able to observe things with brand new eyes.”

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