Herbert
Zangs

Zangs’s use of mathematical symbols, such as plus, minus, multiplication, and equal signs, reflects his commitment to an anti-aesthetic approach. Zangs employed simple, gridded compositions and mundane materials—like plywood, cardboard, and scraps of furniture—to create works that appeared raw and stripped-down. His minimalist, monochromatic style anticipated the ZERO movement and Arte Povera, though he maintained his independence from these groups. Through his focus on basic forms and understated visuals, Zangs sought to redefine art as a fundamental, unembellished means of expression.

Zangs’ work became closely aligned with the ZERO movement, which was defined by its experimental exploration of light and movement. With his monochromatic white works and Vibrations relief series, Zangs embraced ZERO’s philosophy. His innovative techniques, including creating marks with unconventional tools like whips and windscreen wipers, emphasised the process of art-making itself. Although he maintained a degree of independence, Zangs’ work resonated with ZERO’s goal of redefining art as a dynamic and transformative experience.

Whitenings, a series Zangs began in 1952, was inspired by the ideas presented in Lucio Fontana’s 1946 White Manifesto, which called for the exploration of colour and form in a spatial context. Zangs’ white works echo Fontana’s emphasis on the movement and materiality of art, influenced by the transformative properties of light and texture. Through his work with found objects and his signature white compositions, Zangs created art that invites viewers to experience spatial depth and movement within the simplicity of a single colour.