Although abstraction has always existed in art history, scholars consider Vasily Kandinsky the father of abstractionism. His First Abstract Watercolor, of 1910, is a turning point in the history of art. For the first time, the expression of interiority passes through colors and shapes, without any recognisable real element.

In moving away from the verisimilitude of the object, what is achieved is great coloristic and compositional freedom. Fully abstract painting is the one made up of pure components, which Kandinsky identifies as point, line and surface, each with an emotional and spiritual value.

On the same line as Kandinsky are the researches of Piet Mondrian, Kazimir Malevič, and Paul Klee, as well as many artists who will follow, such as the American Jackson Pollock and Mark Rothko, who were united by a desire to break the link with figurative art in order to achieve abstraction.

To the concept of abstraction, Pollock accompanies a revolutionary technique: the canvas is laid on the floor so that the artist can act on it with his entire body, removing any internal hierarchy within the painting (above-below, center, right-left). Immersed in the painting, the artist lets the paint drip (dripping) during his creative action. The result is a work where not only there is no longer any recognizable element of reality, but there are also no longer any form, perspective, composition, or depth. In contrast, Mark Rothko represents the more lyrical side of abstractionism. The protagonist of his painting is pure color: used at full pattern and arranged in horizontal bands, in works generally of considerable size, it invites the viewer to mystical contemplation and inner dialogue.

Throughout the twentieth century, abstractionism and abstract expressionism have reached the contemporary era full of vitality. We, too, have drawn inspiration from them for two of our collections. Klang decorative plates explore, through color, the shape of the circle. As Kandinsky wrote in the essay Point and Line to Plane, "the circle is a cosmic bond [...] it is the most modest form, but it asserts itself overbearingly, it is precise but variable, it is stable and unstable at the same time, it is a tension that carries within itself infinite tensions."

The Kate collection, on the other hand, is a research on shade and on the visual power of chromatic magma. Both are made with the technique of hot enamel on copper, which allows us to experiment on the brilliance of color.