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. 'Void 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 processes that are strictly febrile ". Your plastic work rejects any monumental gigantism; your slow and patient cancellation of the stone block and as an echo of the slow and patient process of sedimentation of the primary matter.