Angelo Andreotti

The discipline of the Earth
they are fathers and sons
dogs that drive sheep
all those forgotten names
under the left hand
of the player
(Ivano Fossati, The discipline of the Earth)

There is water, which is hydrogen and oxygen that is given to the hand, and since oxygen is robust, while hydrogen is a little less, it happens that water is oxygen that holds two hydrogens by hand. It is true that hydrogen is not very robust, but since in the embrace with oxygen it is the latter that gives us more strength, then a little energy is left to him and with this he tries to catch other things, for example calcium carbonate, which, however, does not hold back for much and it takes only a little because it leaves its grip.

This happens when the temperature is raised or lowered, or simply when the water flows and flows into the spring, it slips into the torrent, falls in cascade; then it does not manage to keep hold of heavy things, which settle, settle in materials that time stiffens, which becomes hard as rock, for example travertine. To obtain this time it takes a lot, and maybe in this long and slow interval the things that the hydrogen does not hold, and lets fall, imprison a shell or the horn of an elk or a piece of vegetable, presences in short that can remain or decompose. If they remain then you have the fossils, if they decompose instead leave in the travertine of the holes, the vacuoles that run through it creating small caves, insidious for those who want to roughen the mass. It is a malleable rock for carvings, yes, but very complicated to work when you want to bring it to minimum thicknesses, when you manipulate it to remove it until it becomes thin, a veil, a membrane, a fold of air, as in The work of Giuliano Giuliani, owner of a legacy of disused travertine quarries and a sculptor of this same material, almost for genetic evolution. In this way we work harder, more compact rocks, such as marbles, for example, where penetrating and smoothing means dominating the matter, subduing it with a big voice and then perhaps softening its manly resistance, but travertine no.

The travertine in the hands of Giuliani is female, she pretends to listen and care, preparing inevitable traps as soon as she scratches her heart with the rudeness of a distraction. Interrogating the travertine as the Ascolano does is working on the edge of a precipice, it is a stopping at the instant that precedes the failure, it is a search for the extreme limit where matter still supports the form and beyond which it shows all his precariousness. And so one wonders if this rock is chosen for the landscape and family custom, or rather for exhausting exercise of humility, almost the search for that last point of resistance was a tribute to the violent extraction of the stone from the mountain. It takes very little, one more shot, one millimeter less, and the intuition can not remain anything, or it can help the plaster that almost orthopedically reinforces the fracture without denying it, if anything by showing it, perhaps even highlighting it and bringing it to perennial vision. error, imprecision, gambling, excess of arrogance, and it is punishment that fuses ethical and aesthetic research, forcing the sculptor to a close dialogue with his subject, where the question of the chisel follows the response of the rock and where it does not there are wrong answers but only incorrect questions.Giuliani more than others knows the discipline of the earth, which is imposed by strict rules that listen with humility, but to which he can not subdue his desire for revenge.

Looking for form in matter, matter imposes drawings, his own, which he discovers and clings to in his own will, a sort of ready-made that bends the case in question and generates aesthetic intuition. Thus the most successful sculptures are born, when the gap between idea and reality from logical error becomes poetic exactness. It is known that matter determines the form and the form defines matter. Separating from one another is a mere conceptual exhibition. Faced with a block of rock, the sculptor already knows what to look for, but does not know and can not foresee what he will find when his tools dig, violate, break the tight silence of matter, which is neither silent nor helpless, just waiting to be questioned and ready with his objections and his proposals, ready to the anger of a crack, to the whispered suggestion but also to that shouted, or to the obedience if voice and hand coincide in caressing intimacy.

 Automatically translated with Google translator. Report inaccuracies to This email address is being protected from spambots. You need JavaScript enabled to view it.
Trento1 Rivista1 Trento2