Between 1964 and 1965, Ennio L. Chiggio began research on perceptual margins using circular motifs. black and white rings, later called VISUAL STRUCTURES, of which several variants were created. The research on perceptual margins in the shape of a ring was presented for the first time at the Adelphi Gallery in Padua in 1966, in a solo exhibition; the works were executed on wooden panels and painted in acrylic. As already discussed with the alternating discrete/continuous pair concerning the White/Red configurations, even the White/Black pair, with its alternation of opposing bands, induces an "alert" effect on the sensory surface, a vibration and a movement. All this poses the problem of the indeterminacy and undecidability between figure and background. Usually we are predisposed a priori to consider the white surface as a background and any accident as a figure. black sign. The streaks are "diabolical", the historian Michel Pastouriau had already pointed out when observing the striped fabric that he attributed to the devil. Dia-bolein, that is, capable of dividing, of making faith and its reliability uncertain that one sees, of what appears, already made difficult by the attributes of Gestalt.
The black signs on a white background are spellings that place the dark part above the lighter part that is understood and perceived as a background. If the black mark is structured according to the fundamental statements of Gestalt, such as proximity, similarity, continuity, meaning, closure, etc., the event we are witnessing becomes a model; if the weaving of the pieces is dense and coordinated, it is defined as texture if it is composed of squares, of paving.
Visual Structure - Alternating Rings with Movable Edges BN2 is part of a series of works composed of two circular elements whose configuration can be variously inclined in 8 different positions thanks to 8 holes located on the back of the object (which allow a total of 64 different configuration variants). The central fracture that is created with the alternation of the black and white bands preserves a strong evidence of the perceptive margin in all the positions assumed by the configuration.