Between 1962 and 1967, Roberto Pignataro exhibited several series of miniature abstractions. He referred to these as “small-format paintings” (or collages), as the pieces could fit in anyone’s hand. He later adapted the idea into books, where he explored the concept of abstract storytelling. What led him to adopt and embrace this curious small format?
1955. Cartoon by Roberto Pignataro
When trying to understand the origins of Pignataro’s small-format art, one seemingly unrelated factor first comes to mind: his background as a cartoon artist. Drawing was a hobby he enjoyed from a very young age and practiced throughout his life. He even had several comic strips published in local newspapers and magazines. With this in mind, the act of composing within small spaces was all but a familiar experience for him, and cartoon-sized abstractions is a crossover he was naturally inclined to explore.
1967. Roberto Pignataro at Galería Lirolay
The realities of being an independent artist in 1960s Buenos Aires should be considered as well; art galleries were in high demand, commonly featuring multiple exhibitions at a time. This often resulted in limited wall space availability, especially during high-season months.
This becomes evident in this photo of his 1967 show at Galería Lirolay—a highly sought-after but otherwise small venue—where the artwork is displayed in a narrow section between the gallery’s main hall and the back showroom. Small-format art may be the mechanism by which Pignataro overcame the constrictions such narrow conditions posed to artwork-viewer interactions.
1962. View of the room where Pignataro produced much of his artwork.
Another factor likely playing a role was that Pignataro never had a proper art studio–all the artwork he produced was made in small apartments. This posed real storage challenges, particularly in the 1960s when he was pushing two art shows per year. Alternating between large and small format exhibitions might have been the way he balanced artistic goals with limited art storage capacity.
Lastly, answers shall be found in the artistic proposition itself: a series of windows into deep, colorful mindscapes. Given the psychological nature of these abstractions, the small format may simply be a subterfuge Pignataro used to lure the viewer a step closer to the piece, favoring a less intimidating, more percipient artistic experience.
In the end, what leads any artist to do anything they do? That is probably the safest conclusion one can arrive at. My attempt to explain the inexplicable should be seen as nothing else but an opportunity to reveal a few facts and circumstances surrounding an artist’s life that would have otherwise remained untold.
