ARTISTIC PROJECT

During this three years at of Accademia of Belle Arti I have tested different approaches to
sculpturexperimented (non si pu lasciare un verbo transitivo senza complemento): during in the
first year I madepruduced two bas relief and some portraits using clay; and in the two following
other two years I have created elaborated a type of bas relief composed by an empty close circle and
unusual forms for on the base of the vase bases . During this period I focushave focussed my
research on one single theme: the empty vacuum. It becames, Iin my sculptures, it is the vacuum
which defines the elements that defines the beginning of the matter material and not the the matter
material that which limits the vacuumdefines the empty.
For the Western cultural traditions the term and concept of vacuum emptiness always refer to has a
negative meanings implication. On the contrary, in most of the Eastern cultural traditions, the idea
of vacuumemptiness is synonymous of with infinite wealth of possibilities, maximum openness and
freedom. This idea, formulated mainly by Taoism in China, and Buddhism in India, has been
developed in Japan, especially due to the influence that Buddhism the Zen School have s exercised
on in the arts .
This The exaltation enhancement of the vacuum void in the Japanese traditional arts depends is not
driven only by from an aesthetic propensity or a stylistic choice: it is based on always points to the
idea, expressed and nurtured by Buddhism , Taoism and their conjunction in Zen Buddhism, which
indicatinges the liberation of the mind (mushin) as one of the key factors in the process of spiritual
realization .
Its very hard to describe what really happens in my mind during the research of every aform. All
my sculpturssculptures appear to be seem crowded, but in fact however they are empty. The
external form of my vases recalls the corals or some seamarin elements. I dont know have clare
the the source of inspiration of these forms, I only know that they come to light naturally. The vases
may , maybe, could remeber recall a spiny plant, a cactus. They are very delicate, but the fragility
is one of their characteristics.
I have often thought that the inspiration of this fragility coames from this place, Venice. Venice,
which that wants to exibit exhibits its strenght strength through byits monumental faceits facades,
but its basis are so which is built on extremely delicate foundations. Everything, here, is based on a
part of subtle fine equilibrium constantly threated by that humankind alteration. The continuous
passingage of motorboats causes waves, that undermine are triggering a serious disruption both on
the fragile delicate construction of the city structure, and the foundations of the buildings and the
delicate structure of the lagoon morphology. These latter , that were built to afford for other a type
of traffic other than (certainly not motorboats, such as but rowing and sailing boats, as shown on
Canalettos how we can watch on the paintings by Canaletto) both on the equally delicate structure
of the lagoon morphology.
It is eExactly here in Venice where I have decided to create realize my artistic project. I would like
to make four sculptures having around 30 cm of diameter and 35 cm of height and to install them
in the four of the most important sites side of Venice: Fondamenta delle Zattere, Riva Schiavoni,
Riva del Carbon and the side of SantElena. I would like to place the sculptures on the steps giving
that give the access to the water. Id design my sculptures following the natural forms of the seae
and using sand and glue or terracotta or glass, the symbols of Venice. I would like to use a material
which that integrates itself with the environment ambients and which reflects the slow decline of
Venice. I imagine to put each e this sculpture on a step near the water so that it is subjected, in the
same way of Venices canals side, to waves motion erosions exercise. These sculptures cwould not
only be not only an artistic object project but they could also be a means to monitor the river sides
of Venice.
It would be interesting for me to establish a a collaborationcollaboration with the (a?)master glass
worker to create the sculpture or I could d mould make first a clay model of my works using the
clay ,and after , print it by refractory cast and then obtain to ralize the a glass sculpture in glass by
through the pate de verre technique. This is the oldest technique to create glass sculptures.. Pate
de verre is a kilncastingkiln casting method, not much known to venetian masters, that
litterallyliterally means paste of glass. The principle premise is to mix frit granules with some sort
of binder such as gum arabicArabic gum, and then apply this paste e glass into the inner surface of a
negative moldmould.
I think that we always need an of evident symbol of the about human damages caused by humans.
Like the alarm rings to announce the to the high tide in Venice, so a sculpture disappears for the
incessant waves caused by boats. I would like to see this project extended to a on large scale,
maybe not only on four sitesde, but also on many other shores to remember, every day, what is
happening before ours eyes.