The works we see in this gallery show how Nigro tended towards what he referred to as “non-objectivity”.

He worked on this at a moment in history when a debate was brewing between figurative and abstract artists. His preference for abstract art is clear to see in the “chequered panels” series.
Based on the assumptions derived from Neoplasticism, a series of colours recur in these works. White, black, blue, red, yellow and green are applied in a compact manner, with no nuances, and distributed evenly, so as to create a balance of forces.

The compositional form that appears in Pittura: fuga, 1952, points to a departure from the idea of Northern European Modernism and a further development of Nigro’s pictorial language. It is as though the pictorial scene were shaken and subject to a form of deconstruction.
One can sense that conflicting forces have entered, creating a degree of tension that links up the various parts that form the whole: “Tragedy reappears in my art, but not in an expressionistic manner, which is to say with an exasperated agitation of feelings, but rather as the real representation of a society far removed from Mondrian’s optimistic aspirations, but in which the positions are clearly outlined. Mine is not a world of pessimism, but it is nevertheless the statement of a struggle.”