Lorenzo Zangheri


Lorenzo Zangheri,
year 1978, was born in Spoleto, Umbria, where he is currently based.

As a curious and creative “Engineer Artist”, he has shown since kindergarten an innate figurative skill: already at 4 years old he aroused the teachers’ interest due to his meticulous choice of colours when asked to portray the white, grey and pink stones of the school’s exterior walls. The rest of this childhood and teenage years would be distinguished by substantial experimentation with several pictorial and colour-related techniques.

During his adolescence he started participating in the first impromptu collective exhibitions of the local area and nearby towns.

Although gifted with an innate representational skill, he decided to undertake a more technical education, thus becoming an Operations Engineer within the civil industry: as a matter of fact, following his high school graduation, he achieved a University Degree in Construction Architecture Engineering at the Polytechnic University in the Region of Marche.

His academic path though allowed him to widen his own perspective on interpreting the surrounding world, up to the point of merging technical drawing and art – art and philosophy

After a necessary interval dedicated to his professional growth as an engineer, in 2015 Lorenzo resumed his dedication to art with perseverance, becoming aware of his own language: always the strong advocate for figurative art as communication, he then started to convey messages, mementos and admonishments in a sort of “conceptual engineering”.

In 2017 during the Festival of Two Worlds in Spoleto, he debuted his first solo exhibition “Equilabili”, experience that would be matched again in 2018 with “Destinazioni”.

At the end of 2017 he accepted to create the cover of Fears and Dreams of Living Machines, a music album produced by Zero Call, which came out in October 2018 by JST Records; the piece portrayed on the cover is “Astrarium”, inspired by Giovanni Dondi’s namesake clock (1365).

At the end of the same year, Lorenzo officially opened his own workshop and art gallery in the historic centre of Spoleto, where he currently works and resides.

In spring 2019 he participated in the collective exhibition “Taccuini d’Artista”, originally set up in Spoleto and subsequently moved to Milan in September 2019. In August 2019 one of his works “Il Funambolo Fantasma” was selected for the 31st Palio Del Fantasma, a re-enactment of a Renaissance inter-district race.
During the same period, two of his Indian-ink drawings were selected to appear on an issue of “I Luoghi della Londra Vittoriana” (London Sites during Victorian Age) by publishing house Tout Court Edizioni, owned by Caterina Maccagnani.

At the beginning of 2019 he embarked on an experimental journey with engraving (chalcography), specifically etching (acquaforte) – currently his main focus – which eventually led to the collective exhibition “Radura”.



Lorenzo’s personal expression is a product of his unusual educational path: his professional experience of urban planning and building sites has led him to depict structures (both fixed and mobile) via which he highlights parallelisms and allegories with the contemporary world, perceived as frail and on unstable balance.

The world depicted by Lorenzo is therefore a barren one, made of wide shots, transience, balances, but always concerning real life: the “virtual”, the “social”, the overall human condition perceived as increasingly frail, are all themes which are developed and explored in Lorenzo’s works, using structures, kinematics and deserts, only apparently surreal.

In the very first period of his artistic research, he opted for red chalk drawing (sanguine) as his elected technique, deemed particularly suitable for portraying the ongoing dialogue between art and philosophy. His chosen paper is Rosaspina, cellulose-free and glue-free, suitable for achieving precise tonality and shading, almost matching lithographic quality levels.

After the first period dedicated to sheer sanguigna drawings, Lorenzo started to hybridize several techniques, specifically soft crayon, watercolour, gouache and coloured Indian ink.

The explored themes then became less personal and more impartial. His research on combining different techniques is therefore aimed at preserving the brilliance of the paper he works on, thus retaining its material “purity”, as well as highlighting in return the depicted concepts.