The "true image" of the resurrection is the "empty sepulcher" with the folded bandages and the folded shroud. The abstract Giuliani then becomes enigmatically and elegantly figurative, even if it does not change compositional styles and maternal levity. However, the stolen bandages take on new life, like the dried bones of the Hezebelian valley (Ez 37). It is an interior perception before an ordered absence. A perception produced by an implicit faith that is being made explicit. These are the two times of the Master's sculpture. In the first, through the horizontally spaced horizontal bandage, the meditation of Holy Saturday is seen in the darkness of the sepulcher. In the second, through the miraculous vertical ascending bandage, the contemplation of Easter Sunday is shown in the light of the resurrection.
Two sculptures, totemic and symbolic, where the horizontal level does not negate the vertical one, but it preludes and accompanies it. In fact, if meditation is a reflection of human interiority, contemplation is a response to divine love. Therefore, transfigures the cross, whose horizontal arm embraces the earth and the vertical one attracts to the sky. Therefore, a revisitation of the glory, so as to join two absences: that of the divine in the dead Christ, that of the human in the empty tomb. Giuliani testifies to the Risen through privation, eliminating death residues and preserving the enigmas of knowledge. Just as the empty sepulcher is a preamble to the objective appearance of the risen Christ, so the Easter apparitions are a vision of the objective of his presence. The work of the Master is a linguistic symbol that, in a Magrittian way, wants, first of all, to say that it does not contain what it means, while announcing it. In fact, it announces what has been experienced by the apostles after Easter. He does it through a backward symbolic that focuses on the essential: the empty tomb not for human rapture, but for divine mystery.
It also announces what must be professed by faith in the Beatudine to believe without seeing. He does so in spite of the injustice of those who reduce this event of God in the fable of man. He proclaims, finally, what must be proclaimed by believers, oportune et importune, under every sky, in all languages. He does this while knowing that true understanding of the Scriptures requires the work of the Spirit. This is why Giuliani's icon is deliberately thin and essential. It is announcement and not presence. It is an announcement of a Presence. It is presence that converts. It is conversion that radiates. The sculptural material then becomes paradoxical, so that the gravity of the travertine "converts" into the levity of the message. The signifier, though weakly serious, allows for a very liberal meaning. Those bandages are impregnated with resurrection. Still matter, they are already light; still contingent, already indicate the transcendence. Those bandages are our account of the Risen One, which is based on the testimony of the apostles and on the illumination of the Spirit. As the believer's reflection is ordered, then the strength of the message transcends it, pushing the auditor to the desire of God.
That of Giuliano is not a generic iconography, but a Christological preaching. Not, therefore, an undifferentiated spirituality that only compensates for the psychic mechanisms, but a Christian religiosity that, above all, flaunts the pneumatic dimension. That of Giuliano is not a foreign message, but a testimony. Not, therefore, an aestheticized art that only exhibits the operational qualities, but a Christian commitment that certainly shows religious profession. However, vertical sculpture is less regular than horizontal. Asceticism to God remains difficult, the testimony of Christ arduous. and it will always be the order of conscience and the nuncio in the message to allow the announcement of the Risen One in a world torn by aesthetic, metaphysical, religious relativism. Giuliani, therefore, like the first Christians, takes advantage of the language of modernity to tell modernity what it does not want to hear.