Carlo Lorenzetti

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. 

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 to think of everything without reaching it. In the titles there is always a memory of a past time 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 common, 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 detail, 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.
L’artificio si sovrappone al già dato; e al bianco, l’ombra del bianco”. Quali sono gli artisti che hanno, in qualche modo, sollecitato la tua ricerca? Quali sono, oggi, i tuoi interlocutori privilegiati? “Direi, semplicemente, un gruppo di amici che sentono come la sento io l’integrità di un’arte non scalfita dalle mode. Peraltro, non sento d’avere un preciso parametro formale cui riferirmi: perché certo non esclusivamente formale è il mio trasporto verso Michelangelo, Martini, Brancusi...”. Sono sempre più convinto di poter dire che in questo luogo, semplice e originario, sovrastato da una dimensione di lontananza temporale, tu abiti il vuoto prodotto dalla cava. Come ti senti in questa casa- studio, circondato non più soltanto dai massi di pietra dell’esistenza della tua infanzia ma anche dalle tue opere? “Un vuoto che riempio di passato e sguardi, di uomini bagnati dal sole o dal fango, di rumori, di ruspe ed esplosioni. Ho mio padre dentro e vivo la sua stanchezza; spero che questo luogo lo renderà immortale. Ho capito che la pietra e le montagne contengono ricordi e sogni che io consumo per assaporarne il tempo. Spero solo che questa natura così forte che mi circonda e mi assale, ora, non disturbi l’anima”.
 Automatically translated with Google translator. Report inaccuracies to This email address is being protected from spambots. You need JavaScript enabled to view it.
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