Solidify the void to bear the full, in a process that removes "by addition" in the apparent paradox of a practice in which the intuition of that tie Wildt to Lo Savio is exalted - where the transparency is polished to reach, reaching to define an archaism that, over the years, is increasingly purified by primitivistic ideologisms and confesses the intimisms of those primordialist suggestions praised in the "region of the Mothers", because of a Ciliberti in dialogue with Licini.
Between the rigor of the form of abstraction and the restless and narrative imagination of figuration, we play the role of the pillar of the whole architecture, of that Arturo Martini with which each of us will never end up "reckoning". All the critical references, all the places of history, are from Giuliani as evoked and immediately rendered evanescent. It is a matter of perceiving, facing the art of Giuliani, those chapters and those protagonists of the history of art, as contextualizing indications that make us face his work but that, precisely in the presence of the specificity of Giuliani's work, that is soon they vanish and allow themselves to abandon ourselves, at least for a while, to the emotion of the erotized breathing of this travertine, authentic biological body called and, therefore, by the artist pursued, searched, lapped, caught, captured, possessed: abandoned then in nostalgia, when the artist turns his gaze to the intuition of an approximation of an "other" work, in the "diversity" of figurative constructions to reconfirm the coherence of that interiorizing and unifying poetic inspiration with which in Giuliani he practices the definition of the uniqueness of one's own artistic conception. Armando Ginesi has focused the issue, right here in Loreto, now at the end of the gap of two decades spent. In 1987, in fact, Ginesi ordered and presented an important exhibition that was in "review" of the historically meritorious international review of the "Cappelle Musicali". Thus, in the Sala Sangallo from the Prato area, on April 15th, "Six sculptors of Bottega" were inaugurated. Paolo Annibali, Egidio Del Bianco, Giuliano Giuliani, Beatrice Muzi, Umberto Peschi, Valerius Valeri ", and very well Armando Ginesi explained:" An exhibition of this kind, which sees five young people gathered around the central figure of a teacher, certainly has a good flavor of other times, when the expressive search passed through a long and thorough commitment also of "Bottega" to appropriate that technè and that praxis indispensable to the formation of its own individual style, which is then the particular grammatical and syntactic structure in the which embodies the universal power of the word ".
The "long and thorough" commitment witnessed by Umberto Peschi - wrote Giuliani, in 1993: "Soul who lives in the shadows, in a house that is firm in the time of simplicity, of the essential; integrating with sacred respect to plasters, from dark to white. Time, in the kitchen, lit but still, by an abstract lamp. The silence of time marked by two souls by parrots. A table set by a poetic as rational arrangement of books, catalogs, reviews, letters, an uninterrupted talk "and when they are in the" small room "that is" occupied almost entirely by a work table that ends where you open a window " that "it's the mirage, the new one, I'm excited, I talk with difficulty but I want to testify to Umberto my gratitude. I am facing something difficult to describe, perhaps the hidden temple of creation. "- leads to the ethical meaning of practicing art and sculpture in which we must affirm the moral value of that practice that reveals the meaning of discipline, the value of the exercises, of the fatigue, the natural willingness to listen as a maieutic practice of the "appearing" image. And it is this precise affirmation of the discipline, this intimate moral constituent of its action, which informs Giuliani of the reference to Peschi and which allows the young man to catapult himself to the historical roots of Wildt, from which he brings with it the possibility - for the linking the ferments and the reticence and unrest of modernity - from Martini to incipit - by the "students" of that genius "of the Ambrosian marble": from Minerbi to Melotti, to Fontana.
Noting, Giuliani, that in the spaces of Peschi's house-laboratory, the sacred is revealed (in the "respect" for the plasters), and the abstraction (of the "lamp" - by Balla, of 1909 -) and the rationality (the objects placed on the table), in the silence "Scanned time"; it seems like taking pictures of the meanings pursued by his practice of artistic research. As a hermit, from that hermitage of San Marco Ascona, Giuliani pursues the writing of auroral silences with which to visualize the sacredness of travertine sublimed in plaster as a biological prosthesis, interlocking walls to walls to explain the quality of rationality, abstraction . If one pursues a figure to be built, the figure is forged into a well-defined thought of form. In this sense, Giuliani's boldness is explained by scratching the naturalisms of decoration with the linguistic qualification of the material used to solve the otherwise persistent foraging of a "do to do" in the renewal of the sculptural practice. And, furthermore, the "linguistic qualification" does not propose conceptualist backgrounds, which remain extraneous to the formation and conception of artistic work, in Giuliani. Instead, it is actually a neo-realistic recovery of that "doing" conceived by a Mario Rivosecchi with Fazzini, which leads to the affirmation of the ideality of form. A non-traditionalist recovery of the form that releases the moorings of cultural comforts to make the sculptor fly very high and to allow him to decide not the neoclassicity of the construction, but rather the forgiving, foundational value of the form. It forms as an ideal structure of the figure. With which the image of the work is decided in the ideal - and idealistic - contextuality of the artistic practice, where one can deduce the happy labor of the established intuition. From the earliest representations of the naked bodies to accompany the sinuosity of the great stones, Giuliani turns - and is said of his specific sculpting in stone - towards an arrangement of blocks as a staging that claims, even if in a spurious way, the confrontation with a "representation" spatiality. In the sense that both the work fixes anatomical details, distorting them now in an expressionistic tension and now in a monumental heritage belonging to the new enthusiastic sculptor of matter - the "happy damnation" of travertine -, both that the work, together with other his works, are distributed in the interlocking of spaces organized in the rooms with walls of masonry or raised frames or inside furniture-showcases which showcases the taste of Egyptian sarcophagi reinterpreted in that of the "early twentieth century"; the artist carries out the inner need to explain himself to the category of space.
And if this need - to regulate the artist on the work as placed and defined in relation to the category of "space" - can perhaps evoke, even from a long time ago, a legacy towards evoked conceptions by Neoavanguardia - that same "installation" ", That definition of space as the work in" phenomenology of behavior "- it is certainly to be seen in advance a recovery, instead, of the tradition of the work read in its sacredness. Inside that particular "installation" that is the "Nativity scene" in the rock church in Matera, where the primitivism of the slab frescoes projects in the space to become a travertine sheet to forge the idea of the Manger, Comet, Nativity, inside , that is, a sort of abstract naturalism with which to name the places of the narration, demonstrating that the installation may not yield to conceptualistic tautology and may not allow itself to the decorative illustration. The sacredness of the story is identified with the sacredness of the work that shapes the thought of the figure. Thus the sacredness of the work is the religiosity of one's own nature. Nature in the sacred of the quarry, as a travertine of the body that belonged to the womb of the Earth, from which it is placed in life, from the crater of the quarry as a mythically ancestral place, of a primordiality that opens to the religiosity of existence, of living forms inside biological conformation of the stone. For Giuliani, travertine is a pulsating anatomy. Tense muscle, articulated skeleton, lively body with a breathy, ulcerated breath, pierced with sweetness and eroticized chastity. That the women of her travertine move in clairicant movements, foreshadow the scrolled scrolls of the endless wall sculptures along the invisibility of the imagined time space. The figural qualification vanishes in the evidence of dilatating thought. A thought of the image that informs the figure and decides the spatial qualification of the anatomy represented.
So the last sacred types - and they say ambos, altars, tabernacles, bishop's chairs - go to construct the architecture of the meanings in the evidence of a luminosity that invites us to consider travertine its own intimate spiritual reality. That the naked body is the nudity of tree trunk, Giuliani had shown in his youth when he studied the figure as a reality of the movement, when the vanguard could still be the scholastic manual of cultural reference. When he realizes "Androgino", in fact, it is clear how the young man of the S. Marco quarry looks to the contemporary world in a strong classicizing imprimitura. And not so much for the sacredness of the realized representation, but for that pursuing in the iconology of the theme the union of figure and abstraction, of fullness and emptiness, as truly intimate unity from which the constitutionality of the theme addressed breaks out. And with the works pertaining to the reference of the "Flowers of K. Blossfeldt", Giuliani, reworking the intricacies of the German sculptor photographer, reaches the wisdom of sculpture, where virtuosity does not settle in the presenzialism of evidence but triumphs in the humility of thought internalized. Thought that "from within" digs and molds the "figure".
As it happens in "Gilberto and Elmo", "Great January" and in "It is risen-spirals". That is how it happens in significant works even in the last hairpin bends of recent years, where the maturity and the substance of intuition affirm Giuliani as an appropriate protagonist of contemporary artistic culture in Italy. The theory of iconographies is unraveled, where the capable modeling of travertine and gypsum joints with full and empty spaces triumphs, highlighting his works, understood as fibrillated acanthus leaves as if taken from an incunambolo found among the silences of a Monastery, Giuliani in his works increasingly define spatial rhythms in order to declaim the identity of time. The sculptor really presses the definition of time within a phenomenology of space that allows one to visualize one's own definite thought of the figure. A "figure" understood as "season" and as a dimension of lived "interiority", as "memory" and as a "prophetic vision". This sculpture by Giuliani aims to visualize the religiosity of a truth that proclaims itself as the beauty of truth.