The Catalogue “Energenesi”, made on the occasion of exhibitions at: “Palazzo del Senato” in Milan and at the “Biblioteca Marciana” in Venice, published by Acca in… Arte Roma Editrice
You could almost call my work “intro sculpture” from the way the viewer is drawn into its interior, rather than being limited to observing the outer surfaces.
On a formal level, space and light do not delimit the work, glancing off the surface as they do in conventional sculpture in the round: rather, they penetrate to the inside, and wind their way round the tangled lattice, finally illuminating the centre (see “Sfera con Sfera”) as a virtual point of arrival. Or sometimes there is no sphere (see “Cubo tensione”), or it cannot be found, and then the eye loses itself in the organic networks in a diligent search for our most inward essence.
Man today focuses increasingly on external affirmation of himself, and is less and less concerned with inner deep awareness, and unwilling to undertake a journey into his most intimate nature in search of the meeting-point between Energy and his own essence.
In opposition to the ruling culture of appearances, of getting and spending, my sculptures offer another way: the way of being, or rather of becoming, through a long and sometimes difficult but necessary process of inner growth, of liberation from conditioning, in search of ourselves.
It is not important where we arrive, but it is important to seek, to form an honest relationship with ourselves of constant research and study, in which inevitably there will be times when we lose our way.
This is the origin of the contrast between pure geometric form (the static point of departure) and the freedom and disorder of the network of internal tangles.
Michelangelo, in his unfinished work The Prisoners reveals the suffering nature of man imprisoned by the material; the internal networks in my sculpture raise the theme of the tireless search of modern man: trapped by his own conditioning, he seeks himself and often feels lost and imprisoned.
In my view, sculpture must retake possession of its deepest nature, as in ancient times. It must no longer limit itself to being a mere ornament, the product of an outmoded academicism, nor should it be simply applied philosophy.
It must entail suffering for the artist in his endless quest, and a slow process of mastering the techniques of his craft, almost an initiation, before he finally succeeds in giving concrete form to his work, as it little by little reveals itself to him.
The ultimate challenge is the use of ancient materials and technologies (like the lost-wax casting of bronze), to indicate new ways and new emotions through abstracts forms.
“A free and subversive spirit” was how Vittorio Sgarbi described me in his book “Sgarbi’s opinions”: in my view the artist must go further, beyond negation, beyond facile antagonism and easy conformism to become, through his work, a driving force for man in the search for himself.