Giuliani's home-studio in Colle San Marco. Ascoli is there, far away. Here - in the paternal cavity, now abandoned - in the place of his childhood, Giuliani built his residence (almost a self-portrait), a dwelling placed in the excavation site, in an emptiness that once, perhaps, was a full house. A dwelling full of resonance and experience, in front of walls cut of stone, almost pages, irregular surfaces, engraved with signs that say geological memories of stratifications.
You say, I ask him, that "travertine breathes, is full of plant organisms and fossil animals, every pore is the soul of a life, its time". Likewise, your works seem to want to discover the most secret soul of matter by digging it, dematerializing it with a highly formative intention, removing that "overflow" that allows you to reach your "concept".
So I ask you: what were the circumstances and the reasons that led you to the choice of this way of working the travertine, an erosion process that challenges the resistance of the material itself and that reaches a particular shape, with a its modulated plastic-spatial valence, where they live empty and silent in a dynamic rhythm?
I try to decipher an incompleteness, for this I need travertine, that stone ...: of his suggestion, made of drawings and mixes of signs ... The mass, for me, is nothing but a sum of possible surfaces.
«Emptiness and silence»: the words you use are the most suitable for what I would like to achieve. But it is only recently that I have acquired this awareness; on the other hand, if the sculptures are of forms of places or forms of ideas, I realize that many also have an almost sacral dimension, even if they derive from properly manufacturing processes.
Your plastic work rejects any monumental gigantism; your slow and patient cancellation of the stone block is like an echo of the slow and patient process of sedimentation of the primary matter. Reflecting on a space inside the sculpture, you build unusual membranes, transparent films, excited by the breath of the wind. Your works emanate a feeling of nostalgia, a sort of intimate melancholy that seems to aspire to a difficult harmony. What do you want to understand when you say that you want to shape something essential, absolute and that you are looking, almost, of a mystical involvement? And what is your relationship with the literary and symbolic aspects that sometimes appear in the titles of your works?
With their empty and full, and with the contrast of light and shadow, certain sacred architectures speak a "mystical" language. In some places it is easy for a God to appear. A similar sculpture can evoke it and perhaps generate it. The anti-rhetorical and hermetic symbol is a way of thinking about everything without reaching it. In the titles there is always a memory ...: aimed at a time spent, or a poet, a sculptor, his way, his work.
How is your image structured? Is there a gradual process of approaching the concretization of the form or does it immediately present itself clearly? And is there a relationship between your design and your sculptures?
Each sculpture has its own occasion: it can be a design, or a reflection, or a reading, or an almost occasional thought to determine its start. It is then the concentration on the work that gives - hope - force, thickness and quality to the result.
Sometimes your works are made of different materials: the link between travertine and gypsum is frequent: as if the plaster compensates for the fragility of travertine. Or do you want to configure a fragment poetics? Or what else?
The fracture, or the particular, postulates the total, and the partial answers for the whole. The chalk is for me the other part, almost the other soul of the sculpture; the sculpture born from the take away is flanked by the sculpture that comes down from putting. Artifice overlaps with the already given; and to white, the shadow of white.
What are the artists who have, in some way, solicited your research? What are your privileged interlocutors today?
I would say, simply, a group of friends who feel that I feel the integrity of an art that is not affected by fashions. Moreover, I do not feel that I have a precise formal parameter to which I refer: because it is certainly not exclusively formal to transport me to Michelangelo, Martini, Brancusi ...
I am more and more convinced that I can say that in this place, simple and original, dominated by a dimension of temporal distance, you live the emptiness produced by the quarry. How do you feel in this house-study, surrounded not only by the stone boulders of the existence of your childhood but also by your works?
An emptiness that I fill with past and looks, of men bathed by the sun or mud, of noises, of bulldozers and explosions. I have my father inside and I live his weariness; I hope this place will make it immortal. I understood that the stone and the mountains contain memories and dreams that I consume to savor the time. I only hope that this strong nature that surrounds me and attacks me now does not disturb the soul