"Sculptors at Brufa" is enriched by the significant presence of a work by Giuliano Giuliani, a "niche" artist in the sense of reserved and solitary, proposed by four "historical" sculptors of the event who indicated him in unison as among the most promising of his generation. Those who present it and who knew it only through some reproduction, it was immediately enthusiastic and opened with him a fruitful dialogue on the work to be left to Brufa and on the place where to place it.
Tronco, the stone tree reduced to two hollow trunks of travertine, placed in the gap between the bell tower and a facade of the parish church, above the staircase that once accessed the sacred place, is a strong, simple and complex sign high same time, of the eternity of nature that covers Umbria and its hills. A sculpture that invites meditation and the search for spirituality; the one that pervades all of our land as witnessed by Francis of Assisi many centuries ago and, more recently, an artist like Gerardo Dottori, defined as "mystical of futurism", which took the spiritualization of matter from the Umbrian landscape.
Giuliani, who continues to nourish himself by nature due to his plastic intimism, achieved with a very special skill in that difficult gray area between figuration and abstraction, gives us an excellent result of the progress of a very challenging discourse, which is part of the work important of the last years, of which you can see some important examples in the exhibition that celebrates the permanent location of the work. Stories of stones Giuliano Giuliani, shy and silent sculptor perched between the travertine quarries of Colle San Marco, a village of great beauty , yet abandoned by the tourism that dominates Ascoli Piceno, could tell many of them. Those concluded sealed them in the sculptures that, since the beginning of the seventies, have come out together from his quarry, his mind and his hands. The relationship between this austere artist and the stone is certain of symbiosis, but also of close, meditated and suffered confrontation. In the travertine quarry Giuliani has grown, in all senses, observing the real consistencies and the possible shapes in the stratifications, in the porosities, in the different colors imperceptible to the most.
Each stolen stone therefore has a history, whether it has become a sculpture or remained unformed in a song, waiting for its plastic destination originally imagined, but not resolved. It is in fact from the passage of the travertine in the body of the quarry that the instinct of form and of the same content is born. In the poetics of the artist there are a series of problems, which must be conjugated and synergized with the material, but not just any material and not a piece of travertine. It is then an original empathy that must be realized on the aesthetic potential of what has been called the "solid matter" in the raw state, which raw for Giuliani is not. By definition, in fact, travertine is a limestone rock with a long history of chemical deposition created for many conditions, including the temperature, the pressure and the bacterial action, therefore of living elements. The result is a porous, vacuolar and cavernous structure due to the voids left by the decomposed vegetables, which are also living elements.
And then, as we age, the travertine takes on shimmering colors for pyrite crystals that turn into more or less blonde limonite. All these factors the artist knows them, he senses them and his choices, so, they are never casual. Giuliani's poetics is not nourished only by travertine, but at least by nature in its complexity, by the man who is its custodian and, above all, created in the image and likeness of the divine and, therefore, a simulacrum of beauty and the sublime. While the element of nature is directly expressed in the artist's experience, man is reflected and subtended. The environment, the landscape are understood as vital elements that are vital, dynamic, unrelated to neo-naturalist concepts. But in his poetics there is a very high ambition, not new to artistic intentionality, primarily and in apparent contradiction to the historical artistic avant-gardes: that of the spiritualization of matter. (...) The same that Giuliani is slowly building himself in the silent and painstaking artistic practice and that another futurist artist, the Marchesian sculptor Umberto Peschi, about ten years ago, predicted that he would have a substantial weight in the art system . The beginnings of Giuliani, after his studies during which he casually assimilated the substance of figurative languages and those of abstract and informal research, are iconic, but essentially symbolic. The figure emerges from the unfinished stone as in a transfiguration of matter.
It soon became, again for pieces, the object of construction-deconstruction of ensembles: anatomical details that set in neutral situations or that specularly sectioned in the game of double. It is the season of "full". At the end of the eighties, quickly retracing a path in reality very slow and meditated, are some "scenes" plastics rich in symbologies and metaphors. Still female figures, less incomplete than the previous passages, but deliberately disharmonious in the forms, juxtaposed with skeletal trees or mighty mountains. Beautiful experiences such as an anticitactionist reading. With the debut of the nineties Giuliani matured a strong conceptualism, an intimacy that pervades every extrinsic narration with a modern language of apparent minimalism, in reality of strenuous dialogue with a travertine conjugated with chalk, with rare pigments and other materials.
In this period the progressive refinement of the stone begins, a true paradigm and, at the same time, a paradox of the matured and changed relationship with the "solid matter" that works. A new language that also corresponds to an evolution of poetics that now feeds more on signs and metaphors of factuality and human behavior, than of naturalness alone. The stone, made of stone, finally dominated with a patient digging work, and a skilful play of empty-filled spaces, more empty than full in reality, is an icon of concepts and expressive minimalizations. Gypsum completes it, restores it, artificially integrates it, constitutes a jutting element, complementary. The stone skin is the face of the travertine boulder, almost to destroy its pure soul. It is an operation of slow dematerialization, hence the search for that spiritualization coveted in the statement mentioned above, which sometimes translates into the subjects represented: in the trees rendered bark, in the African continent made a large fringed sheet, in the sails too thin to bear impetuous winds and in the boat so fragile to withstand the shock of the stormy waves of the sea. Apparent and ambiguous fragilities. Almost of the unpublished trompe l'oeil sculptures, founded on a primordial and immutable consistency. In conclusion, without having wanted to carry out an extensive analysis of Giuliani's production, after others have done well to you and others, surely, they will do in the sure developments of his work, you can be satisfied of having contributed to enrich the experience of the sculptors Brufa of an important page with the experience of a talented artist.