Ben Ormenese was born in Prata di Pordenone in 1930. In the early sixties he decided to leave the school of architecture to devote himself entirely to painting, moving to Milan. These are years of an early evolution, which leads him to investigate the potential of color, through the decisive influence of the informal most iconoclastic. But the friulian artist's vocation is linked to the construction and, therefore, since 1964 began his research on the material to which he devotes much of his art and that is wood. Abandoned the traditional brush begins his structural investigations, considering the painting as something that is done in the space, almost driven by internal dynamics propulsions. It is in 1964, the exhibition at San Luca of Verona and in 1966 at the Vinciana of Milan. In his sharp object direction Ormenese will always be attentive to the perceptual conditions of the works, the gap that occurs between the superficial illusion of the joints of its forms and the plasticity of the very tangible forms: its combinations not only lie on the surface and in space but also create surface and space. It is in this area of research that since the mid-sixties that starts the LAM cycle (lamellar structures), in which he shows the interest in the effects of light (and the resulting shadows) within its structures, at the same time more advanced research of the kinetic Virtual Europe. In this crucial phase "optical", deals with the light, the color and in perceptive part of the movement, for the creation of zones of ambiguity in which it is difficult to distinguish between what is present and what is absent, but which continues to appear . At the same time Ormenese continues the experimentation on wood, modeling, painting, even burning, to force his creativity, knowing, as taught by Dante Alighieri, the shape will tune with "intent of art" only if the artist will know how much the matter is "deaf". It is with these cycles of works that he approaches the Vismara Gallery in 1968 and the Galleria Falchi in 1970, after the presence of a group show at the Blu Gallery, always in Milan. But it is the encounter with the illuminating personality of the gallerist Silvano Falchi of Milan, the defining moment of these years, to give confidence to a search may be too strict and lonely. Within a few years are organized exhibitions in Italy and abroad, from the Gallery Ravagnan of Venice, to Teufel of Cologne and to the Royal Academy in London in 1978. The young critic Luciano Caramel takes an interest in his work, sensing the fundamental potential for innovation, but the shy Ormenese, suddenly, after a severe crisis that led him to destroy much of his work in a quiet night bonfire, prefers to retire to his Sacile, where he will continue his research in solitude. For two decades, until 1997, he worked tirelessly, dealing with his absolute mastery of craft, until the creation of special wooden sculptures, in which always proceeding by structural aggregation, he chase a foolish attempt to capture the sublime set of consubstantiality, contradictory but certain, of presence and absence. In 1998, the Gallery of Bologna Poliart organized a retrospective of the master, in collaboration with Galleria Paolo Nanni, with a catalog by Leonardo Conti. So begins again the exhibition activities of the master, who in 1998 and 1999, is at Arte Fiera in Bologna. In the last years of the century runs out of the phase dedicated to the few but extraordinary sculptures of the nineties, in which, keeping his compositional method for modular aggregation, leads first to the outcome of violent expressionism and then to the brand's iconic visual oxymoron of an abstraction. It begins with the year 2000, and to date continuously, a moment of synthesis that brings together all the researches of the master on the problem of the matter and the incidence of light on it.