A Life Between Venice and Oslo

Gino Scarpa lived a life defined by movement across borders. Born in Venice in 1924, his early years were shaped by the architecture of his Italian birthplace, where he studied the discipline of structure and form between 1945 and 1949. This foundation in architectural thought would later inform the heavy, tactile nature of his sculptural work. Before settling into a life of full-time creation, Scarpa sought adventure in the mountains, working as a guide in the Dolomites. This period of physical rigor and connection to the landscape preceded his move to Copenhagen in 1958, marking the beginning of his long association with Northern Europe.

His path was not a straight line through galleries. He moved to Oslo in 1970 and eventually became a Norwegian citizen in 1978. This transition from the Mediterranean warmth of Venice to the Nordic light of Norway brought a unique duality to his perspective. He carried with him an Italian sense of classical mythology, yet he found deep inspiration in the ancient Scandinavian rune stones. His work often bridged these two worlds, blending the mythic weight of the south with the starker, more abstract influences of the north.

Material and Form

Scarpa’s approach to art was marked by a refusal to be confined to a single medium. He worked as a painter, printmaker, and sculptor, often experimenting with unexpected combinations of materials. In his sculptures, he utilized cement and copper to create textures that felt both grounded and industrial. His paintings and prints frequently featured elongated female figures, rendered with a decorative and imaginative style. These figures often carried an air of mystery or eroticism, appearing in compositions that felt both ancient and modern.

The technical breadth of his practice included:

• Mixed Media: The integration of cement and copper in sculptural forms.
• Printmaking: Studies in graphics conducted in Malmö between 1964 and 1966.
• Abstraction: Designs inspired by the geometric and symbolic nature of rune stones.
• Illustration: Work for books such as Steppeulven and I was Marco Polo.

Recognition and Presence

Throughout his career, Scarpa’s work found its way into significant collections across Europe and beyond. His presence in the art world was marked by participation in major exhibitions, including the Venice Biennale in 1948 and the Rome Quadriennale in both 1948 and 1959. These early appearances established him as a voice capable of navigating international stages.

His legacy is held within several permanent institutions, ensuring his particular vision remains accessible to those studying the intersection of Italian and Norwegian art. Notable holdings include:

• National Gallery of Norway: Featuring the painting Daggry from 1978.
• Norwegian Museum of Contemporary Art: Housing sculptures such as Signum (1972) and Bølge (1973).
• Museo Internazionale d'Arte Moderna: Located in Venice and Rome.
• Statens Museum for Kunst: In Copenhagen.

By the time of his death in Oslo in 2022, Scarpa had completed a long arc that began in the canals of Venice and ended in the quietude of Norway, leaving behind a body of work that remains rooted in both stone and myth.