Luca Beatrice


A journey between the organic and the universe

Who is Meggiato? An artist, but also a philosopher, scholar, alchemist, artisan and scientist, capable of bringing into sculpture a formal repertoire of symbolic cataloguing and abstract representation of the universe. To plunge into the mystical dimension of Venice, through bronze castings, inlays, works in marble and stone, means getting lost in the cellular choreography of luminous evanescence organized in stately abstract poses, sometimes enveloping, sometimes elusive. Fossils of a distant past granted new life through magic. A time and a life with which we can easily identify, because they both rely on the matter of which we are made and the idea towards which we strive, with spheres like nuclei, labyrinths like membranes, visceral protrusions and indentations. Meggiato’s matter is organic, and manages to become noble; an extremely familiar yet exquisitely arcane entity, a being that thrives on the dualism of man, the same one of which the universe is made and towards which, by destiny, we are inexorably drawn.

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Liquid sculpture

[…] Sculptural elements that should constitute a formal synthesis of the actions of man, in contact with the cogwheels of our society, where what is needed is willpower, strength, optimism, simplicity, and clarity.
Pietro Consagra
I have a renewed passion for Natural History museums, which defy time with their collections of ancient, enormous or microscopic animal and plant species, cutting across the scientific fields of zoology, botany, mineralogy, geology, and palaeontology. In the museum in Turin, as well as biological and abiological forms, there are some incredible entomology and ornithology sections stacked high with invisible cities of insects and secret collections of nests that would bring any expert in housing units and social architecture to his or her knees.
Looking at Gianfranco Meggiato’s twisting warrens and nuclei of material energy, I find the same systematic composure and the same entropic power working to contain natural chaos within forms that are themselves generated by chaos. The fragmentation of cellular unity in Meggiato’s sculptures is protected by a material tension of forms that may at first sight appear familiar. This may be because they take quite naturally from a primeval biological architecture, from cells and nuclei of implosions and explosions, chains of DNA and disorderly, corporal viscera.
I admire the dexterity of those creative “hands” of insects and birds, which are capable of devising solutions available to humans, just as I admire the ability of an artist to enter so deeply into his material as to immortalise its fluidity, even in the fixity of bronze.

Read – Liquid Sculpture