Curated by Luciano Marucci. As a critic of the periodicals "Juliet", "Segno", "Flash Art" and "Arte e Critica", specialized in contemporary art, public inquiries on interdisciplinary topics, reportage of European and US exhibition events, interviews with the protagonists of the Italian art scene and foreign, reviews of exhibitions. Since it seems right to me to pay attention to the visual operators of my region (the Marches) that lead rather interesting experiences, in the space given to me by this magazine of varied culture, I try to represent a mapping in a far from localistic vision. I hope thus to give them more visibility and to encourage them to proceed with commitment.
As a critic of the "Juliet" periodicals, "Segno", "Flash Art" and "Arte e Criticism ", specialize in contemporary art, public inquiries on interdisciplinary themes, reportage of European and US exhibition events, interviews with the protagonists of the Italian and foreign artistic scene, Exhibition reviews. Because I think so have to pay attention too to visual operators in my region (the Marche) that lead experiences rather interesting, in space granted to me by this cultural magazine varies, I try to represent one mapping in a far from vision that localistic. I hope so to give give them more visibility and encourage them to proceed with commitment. obviously omit those who have already had best awards. In the previous issues I have dedicated services to the painters Terenzio Eusebi, Benedetto Bustini and Arnaldo Marcolini. Now I propose the sculptor Giuliano Giuliani through the long interview that follows, in which I tried to deepen above all the structural aspects that characterize his figure stylistics. And I conceived the dialogue with pedagogical intent to make understand better the reasons for his research. I add only that Giuliani has defined his identity by practicing sculpture with manual skills of ancient memory, that allows him to get the maximum lightness and to externalize the sacral sense of a motivated poetic. Thus his passionate and wise work against the current has merit to give topicality to a technique expressive considered anachronistic from those who prefer other languages.
Giuliano, when you've decided to practice using sculpture the travertine? I was born in a travertine quarry, I have course and played on the stones, trampling and living squares and houses of a city of travertine. How not to feel in symbiosis with this matter? In elementary school teacher Matilde made me draw, while the other children did their homework, then he hung the drawings on the walls: my first show. Later, in the Graphic Section of the Institute of Art, we designed a lot, but I did not know well if you are doing artistic things and di quality. When I got to sculpt with some discipline (not like I did occasionally always), the answers they arrived alone.
Choose the material based on a more or less defined project? In most cases, yes.
The ideation comes to you also from the its morphology? Maybe it happened, while it's important contrary, that is to find the stone in base to the project or idea, to the morphological structure with its peculiarity of compactness, resistance, porosity, hardness, etc. Each field is different and sometimes even at a distance of a few meters, the structure of the mass and the color change.
What are your masters of yesterday and today? Today I look especially young and very young, which would question the use of a subject like travertine and stimulate me for a complete do and use new of the same, but to concretize this requires a lot of concentration and I work. I've always been attracted to Michelangelo, Martini, Brancusi, too if my interest in them is not exclusively formal. For the news I'm interested to all the English sculptors.
In your case, the craftsmanship is important? It is necessary and important for my type of I work, but I hope to go further.
The isolation at Colle San Marco di Ascoli benefits the quality of the work? His nature, spontaneity, has been removed from Art and simplicity necessary to reach depth and intensity. The art world it is full of strategies, malice and cunning that away the most, fearing not to find truth. In a sense like politics. So I believe that the quality of my work is helped by the choice of living and working in isolation of San Marco, conjunct to a constant update on what happens in the art world. I chased this project in a more or less unconscious way.
To substantiate the artistic object where do you get cultural information? Everywhere: books catalogs exhibitions.
In the constructive process as it enters contemporaneity? Contemporaryness is a cultural fact. You comes in the form of inadequacy and dissatisfaction of the result; in total refusal of already seen, of the already done; in the knowledge of the experiences of the past and present. My contemporaneity is my anachronism.
To maximize the potential sensitive materials, limits le contamination of additives? For some works it is essential that the subject remains pure, for others additives add and they help definition.
The subtle chromaticisms of the stones? Absolutely not.
So do you use artificial colors? The explosive sense of color provides an intent revolutionary and dreamer. I added resins colored to the sculptures in experimental form, but in the end I almost always came back to the naturalness of the color of the stone, I did not make it but I keep hoping.
In summary, what was your training school? In high school I chose the Institute for Surveyors, then abandoned for the Institute Art. Graduated, I attended the DAMS of Bologna, also left for the Section Sculpture of the Academy of Fine Arts.
How has your plastic speech evolved? Very slowly. Being sculptors in Ascoli it was practically impossible and I felt in me deep dissatisfaction. Despite having held, nineteen, the first personal with twelve medium-sized travertine sculptures (anthropomorphic and abstract), I could not to detach myself from the provincial aspect, from the simplicity and beauty of the places where I grew up that did not allow me to hypothesize an easy plastic journey. But travertine yes confirmed the subject of election, so I continued to sculpt, but also to deal with vines and campaign with my uncle, until, added the last disappointment (monument contest missed), I decided to take for a decade, a commercial activity with two cousins. Meanwhile, I followed the experiences of contemporary Italian sculptors (mine peers). Leave the company for an assignment at the State Institute of Art in Urbino, I took full awareness of what it was like mine future sculpture: empty light white.
Do you already have all the secrets of the trade? I do not know those related to new technologies, but in many years of dexterity, I believe to know enough, even if the work and the time teach new possibilities and the art I think I know little.
The subtraction of the matter up to extreme limit is a function of essentiality and aesthetic lightness, but also of sublimation and of the transcendence? Your question is already a good answer.
Accidental breakages during construction are all repairable ...? Not necessarily. When "chance" answers questions not asked "(John Cage), the break is left deliberately. In other cases they are almost all repairable.
Thanks to experience and passion, of the body of matter save the skin that communicates the artistic message strengthened by your experience !? I think so.
So the realizations derive from the dialectic between two identities: that personal who wants to establish himself through the creative act and the other of the material that can resist external interventions. Exact!
The technical skill highlighted by the intimate relationship between full and empty exalts certainly the structural perception of the work and affects the observer. Do you have the pride of showing it? I do not think to perform, especially in this period in which through a moment of second thoughts and crises and, therefore, I should experiment a lot; maybe change so many things and do a less than my know-how. Indeed, it would be better not to know how to do anything ...
The long time required by the execution does not slow down the progress of the research, if nothing else on the linguistic side? I really think so, but while I work I have time to think, to generate other ideas and maybe to overcome them and improve the result.
Not even the most tiring physical work phase can be delegated? The grind sometimes weighs me down, sometimes it relaxes me, but can be delegated. I have some eager friends to learn how to work the stone that help me; otherwise I would not know how to do it.
The exasperated dexterity, which refers to the ancient craft of sculpture and yes deviated from new technologies, underlies an ethical intentionality? Ethics is made up of examples. My father told me that as a child his family owned the card of the poor. The teacher begged her parents to let him go to school because he was very gifted, but at the age of ten, wearing his mother's shoes, he was already going to work in the quarries (distributed to drink to the workers). At fourteen he was a skilled stonemason (He pointed to crosses of churches and frames made by a very young man). After the war he attempted the opening of quarries along the ridge of Piagge San Marco, then landed first on the plateau (my mother every day, walking along the mule track, he brought lunch to him, my uncle and the others workers). Other quarries followed. Then all the extraction was done by hand. Until the years Eighty we have exported to half of Europe. Also the travertine of our civil hospital and all that for the recovery of the Fortress of Civitella del Tronto comes from ours quarry. Then the crisis and environmental problems forced the closure (even if today more the quarries than the woods are visited). Here, ethical intentionality is in this example: a work made of absolute stubbornness, intelligence, passion, unprecedented efforts, sacrifices today unthinkable, with many men and women who have made Italy rich.
The desire for achievement of the goal they grew up with me. How not to involve the body in my research, the quarry, the stone tracing a style of doing to deserve? Even if I did not go to nothing, the dust rise satisfies me.
It seems to me that, by choice or to satisfy the sensitive potential of the rough stone and in formation, your activity does not follow a schedule, but draws inspiration from many parts. It works more or less like that and maybe it's my worry.
Do you willingly submit to the intrinsic characteristics of the mass you are facing? I choose them based on the project.
In general, the subjects to be recovered arise from the need to externalize the image inner and reconsider human values !? I believe that ethical and educational centrality must be restored to art. For this there is need also of the beautiful. I do not know if I will succeed in the goal, but it is my desire to be of help for improve society with my work.
The space and the silence that inhabit your sculptures have conscious ties with architecture and a metaphysical value? Some have an architectural value, in particular deconstructivist; others, I hope, metaphysics.
Are references to Nature essential? They are very present. They manifest themselves in the desire and hoping to get one form linked to tradition, but from value original. I like to share with the art historian Anna Ottani Cavina la considering that the valleys, the hills and the mountains are a "powerful vector of creativity, places of exotic transcendence, arena of the spirit where to experience the descent ego ".
... How do you see it and represent it?
For me nature is the essence of creativity. We can see it according to the concept reported from the dictionaries, where God is the creator of the everything and the man his imitator. The mountain it is formed on geological and random laws; there sculpture is outlined through a geometry peripheral and a central necessity.
Rely on summoning through the informal objectivity? Not always and not in a rational way.
The titles tend to direct the subjective reading of the works especially when the aniconic aspect prevails and the metaphor prevails? They tend to direct the reading towards many ways and forms, even ironic or crossing. Some refer to a memory; others to a dedication, to a more.
What is the relationship between your three-dimensional work and drawings? Is it the first that influences the work on paper or vice versa? Start with the design, but above all with very small sketches (two to three centimeters) in which I glimpse already great sculptures, even those not realizable. The drawing has different specific functions: it is an end in itself, an evocative exercise, design tension, philosophical background, mission impossible ... In particular, in the conscious difficulty of its original use, I create a self-destructive design approach to eliminate, forget the idea initial and allow another of replace it.
I suppose that flexibility of the work on paper fees the rigidity of the sculpture. The beauty of the sculpture lies in the his eternal rigidity. Masses apparently inanimate live of them state of affairs; they feed on themselves same; they house life. Dynamism it would interrupt the pure state of "being". The drawing shares with the sculpture the gesture (almost always wide and curved) with which to trace, but, while in sculpture it produces solidity, though fragile, in design always makes it flexible the physicality of the image.
Undoubtedly the entire production unveil your story linked to the place in which you act. How much they influenced the your creative journey memories of the suggestive craft yard inherited, also sedimented in the geological stratifications? Much, if not everything.
You would like to revive the environment too with the establishment of a school for young people? This is what I tried to do over time, but the bureaucracy, compared to a place protected by everything, including abandonment, makes the thing too difficult. Unthinkable even the most beautiful projects.
How would you define the sacredness that are you trying to bring out the artifacts? The sacredness that is within us calls for light and clean hands, even to whom he takes care of his lay aspect. When we were young, everything we touched was sacred or art. Therefore, in order to make these "things", it is necessary to remain pure and honest.
There is no risk that religious sanctity can be emphasized to satisfy the commissioning of furnishings in places of worship? The piece of furniture becomes art if there is freedom of execution regardless of the its function. With this assumption, I participated in national competitions. I won two for sacred furnishings in new churches, which, due to the vicissitudes, they will not be realized. I also joined the request for collaboration for that designed by the architect Mario Botta, but everything is still. In the Church of San Pietro Martire of Ascoli, however, I could place an ambo and a baptismal font.
Want to show that also the stone has a soul that goes immortalized ...? Certainly. And if I do not have it, I'd like to give it to him.
The fragility of the artistic artifact does it have a symbolic meaning? Expresses precariousness existence? Yes, it is a constant, conscious dimension spiritual ... I hope to succeed to give a supernatural interpretation to what does not have it ...