Born in Florence in 1940, died very young in Rome in 1971. Within a “long” decade (1958-1971) the research of Paolo Scheggi went through different fields of knowledge and disciplines, from visual arts to architecture to fashion, from poetry to urban and theatrical performances to arrive at a conceptual and metaphysics reflection. Characterized by a strong interdisciplinary approach, the route taken by Paolo Scheggi may be condensed in the interpretation given by Giovanni Maria Accame in 1976: “from the exhibition of the project to project of the exhibition”.
In Milan since 1961, he had a vibrant collaborative relationship with Germana Marucelli for whom he redesigned a tailoring studio, inaugurated with a parade of optical dresses in the spring of 1965. He came into contact with new research in the Lombard capital, attending the group around Azimuth and the first exponents of arte programmata, while Lucio Fontana, follows his research carefully after 1962. In 1964 Carlo Belloli ascribed him among the 44 protagonisti della visualità strutturata, in 1965 he was included by Dorfles among members of the Pittura Oggetto, in the same year he joined the movement nove tendencije, and held international contacts, especially in northern Europe , where he exhibited on numerous occasions and participated in group exhibitions Zero and Nul.
Also fundamental was the architectural and environmental direction that his research would undertake since 1964, working with Nizzoli Associates (Mendini, Oliveri, Fronzoni), Bruno Munari (Sala Experimental Film, Milan Triennale in 1964) and resulting in the Intercamera plastica created by the end of 1966 and presented in Milan at Galleria del Naviglio in January 1967.
Since 1968 he opened his investigation towards theater and performing arts, addressing the overcoming of the traditional space of the stage and the gallery and extending it into the city (note his Marcia Funebre o della geometria for Campo Urbano in Como, in 1969, and the performance Oplà Stick held in Milan’s -Galleria del Naviglio, Firenze-Galleria Flori and city streets, Zagreb Student Center Gallery, for nove tendencije 4, 1969).
During the last two years he engaged in a conceptual research culminating in the Sette spazi recursivi autopunitivi (never realized), the seiprofetiperseigeometrie and the Ondosa environment, yet to be investigated in their complexity. He was present at the Venice Biennale in 1966, and in 1972, 1976, 1986, Scheggi exhibited in some of the major artistic events of the time, from Paris to Buenos Aires from New York to Hamburg, Dusseldorf to Zagreb.