Lineamenti

Considering the principle by which the construction of an object is seen as a material transposition of a concept, the word, as well as sculpture, remain one of the many means to materialize a thought, in fact in the visual arts, as in the literary ones, there is a strong communicative intentionality.

The LINEAMENTI project starting from the choice of the name, enjoys a possible evocative power:
pronouncing the name of an object, means bringing it into existence, just as happens, in everyday life, by calling someone by name.

In this work the aesthetic and practical effectiveness of a hypothetical sculpture derive precisely from a precise identity, from the latent presence of a force that finds its being in the block of wood, whether pre-assembled (mdf) or natural (walnut - alder):
the wood itself, in a part of this experimentation, is not a passive material that undergoes the design intervention, but is the seat of a vital energy that finds its forms in its own grain.
The choice of wood and type of execution was not made on the basis of technical considerations, but symbolic ones:

• In the first panel (white MDF) the rhythm of the line is evident, of the graphic sign (silicone) present at a visual, tactile level, of a contrasting color with the background color. The lines follow, in this case, a “pre-drawn” path. Lines simulating movement, rhythm, confusion, sometimes even contrast.

• In the second panel (American walnut - alder) there is a juxtaposition of fluid lines even if at the same time natural; they follow, instead, a “pre-marked” path. A sign indicated by the same material, by the life of the same (time) as well as by a hypothetical place of placement. They are evident lines that do not have a common starting point, but not even a common arrival point.

• In the third panel (scagliola) there is a juxtaposition of rigid, displaced lines in orange acrylic color for a new reading of the centuries-old technique of lightening scagliola marble.

LINEAMENTI reinforces considerations on the relationship between man/nature (intended as technology/purity), essence/presence (intended as matter in its primordial state – “essence” precisely – and the presence of matter composed in the laboratory: “silicone”); further reflections were on form, on the comparison between materials and on respect for them, not aiming at a realistic representation, but at the transformation of reality having as its ultimate goal a visual harmony.