Paolo Scheggi was born in Settignano, Florence, in 1940. After studying in London, he moved to Milan in 1961 where he met his contemporaries and aroused the interest of Lucio Fontana, who from 1962 attentively followed his career. The transition from the early works of assembled metal sheets and collaged materials of the late 1950s and early 1960s to the Intersuperfici was rapid: the latter are monochrome works characterized by three overlapping canvases with elliptical or circular openings. It was with one of these, in white, that Scheggi was invited to the exhibit in 44 protagonisti della visualità strutturata, curated by Carlo Belloli at the Galleria Lorenzelli in Milan in 1964. A year later Gillo Dorfles selected him as one of the exponents of Pittura Oggetto, and Umbro Apollonio and Germano Celant became interested in his work. In 1965 Scheggi joined the nove tendencjie-New Tendencies movement, and was in contact with the Nul and Zero groups.
By this time enjoying international renown, in 1966 Scheggi was invited to exhibit in the 33rd Venice Biennale and in Weiss auf Weiss, curated by Harald Szeemann at the Bern Kunsthalle; in 1967 he exhibited in the V Biennale des Jeunes Artistes in Paris, Lo spazio dell’Immagine in Palazzo Trinci in Foligno and the Exposition International des Beaux Arts de Montreal; and the following year in Public Eye in Hamburg, and at the Teatro delle mostre in Galleria la Tartaruga in Rome. Despite the brevity of his career Scheggi mingled a variety of visual languages, and as early as 1964 his research extended to the field of architecture: he worked as model builder for the Nizzoli Associati office and designed a new Milanese fashion house for Germana Marucelli. After these early “gratifying [vivibili] experiences of plastic integration in architecture” he designed and constructed the Intercamera plastica, first displayed in the Galleria del Naviglio, Milan, in January 1967.
In 1968 Scheggi initiated his research in the theater, transcending the traditional space of the gallery and expanding into the city: examples of this are Marcia Funebre o della geometria for the event Campo Urbano in Como and the performance Oplà Stick that traveled from Milan and Zagabria to Florence in 1969. Finally, in 1970-71, he adopted a mythical-political perspective, studying relations with religious, anthropological and symbolic forms of art, and participated in exhibitions such as Amore mio and Vitalità del negativo, both of which took place in 1970. The artist died in Rome in 1971. Tomba della geometria and 6profetiper6geometrie were exhibited in 1972 at the 36th Venice Biennale.