…it is infinity, and so I pierce this canvas, which was at the foundation of all the arts, and here I have created an infinite dimension, a hole that for me is at the foundation of all contemporary art, for those who want to understand it. Otherwise they keep saying it's just a hole and that's it…
Characteristic: Constellations of holes on the canvas surface
Evolution: From spontaneous vortexes (1949) to regular rhythmic sequences (from 1950)
In 1949, Fontana's most original invention was born. Perhaps driven by his origins as a sculptor, in search of a third dimension, he created the first paintings by perforating the canvases.
These pictorial works are characterized by constellations of "holes" made on the canvas surface. The "holes" series was continued consistently in subsequent years as well. The first works present vortexes of holes; from 1950 onwards, the vortexes give way to holes organized according to more regular rhythmic sequences.
The originality of this series lies in the fact that Fontana, thanks to his sculptural training, treats the canvas as a physical object, expanding the traditional concept of painting. At the same time, the artist outlines the principles of Spatialism, a movement that transcends the limits of two-dimensionality, profoundly influencing international art.
According to sources such as the "Manifesto of Spatialism" (1947), Fontana invites artists to free themselves from conventional boundaries. In this perspective, the holes are not simple perforations, but gestures that capture light and project the painting beyond the surface, involving the viewer in an experience that transcends mere contemplation.
Between the late 1940s and early 1950s, Fontana's fame grew, supported by critics and collectors. His perforated canvases establish an unprecedented relationship between light, shadow, and matter, anticipating some of the research of subsequent avant-gardes. Here the artist's hand becomes "sculptural," as the holes physically shape the canvas, extending the painting into a new dimension.
In the first "Holes," the perforations appear in spontaneous vortexes, while from 1950 they are arranged in more regular sequences, creating evocative visual rhythms. In any case, spatial tension remains at the center, overturning traditional canons and inviting the viewer to explore a territory in which the work merges with the environment.
