The place is destiny
Giuliani is an artist fully integrated into the environment in which he lives and works; he is the son of travertine quarrymen, who with difficulty have led a hard and ungrateful trade, currently put to the test by the environmental impact. (...) The realization of the work is always the result of a personal processing and intervention that give the travertine nobility and dignified preciousness and redeem it from its daily use; all this seems to bring it closer to the marble.
Rightly Roland Barthes, in Myths of today (Paris 1957), wrote: "A luxurious object is always linked to the earth, it always invokes in a precious way its mineral or animal origin, the natural theme of which it is nothing but an actuality. ". (...) "Travertine - he says - breathes, is full of plant organisms and fossil animals, every pore is the soul of a life, its temple". The stone, derived from the mountain environment, is the result of careful selection. Immediately after Giuliani observes: "Around the quarry whole days, I look tens of times the same boulders, until the suggestion releases the final design"
Choosing the "violated" stone, the artist intervenes to accept the voice, or rather the "cry". Giuliani knows and recognizes the language of travertine, the cry of the violation made, accepted for an act of love. Can art admit so much? Operation is a lenatory response; art is the redemption of a violence in the care for the stone. The work is the interpretation that becomes a gesture in the care through the artist. Giuliani follows the stone, does not remove it from its environment; the dexterity does not lead him to impose pre-constituted forms to it, but to rediscover vital elements, in which man and nature meet (...).
The moments of the artist's plastic work are basically two, archaeological and intensive, respecting the alterity of the stone and its environment, which is also a great and vital sculpture. From the archaeological point of view Giuliani tries to preserve the larval state of the stone, not considering it a mere obstacle to his task. The archaeological aspect should not be understood here in a negative way, as the result of an incurable and corrosive action of time that reduces stone to residue, to ruin, bringing it back to the initial mineral situation. (...) Giuliani's is a skilled manual skill aimed at enhancing the elemental vitality and archaism of the material. Here is the other trait detected, the intensive one, which from the plastic point of view is configured as a research that celebrates the stone in its intensive propensity to actively form itself, through the occasional and fragility of the plastic gesture. Here Giuliani's sculpture, through the two moments just mentioned, shows that he aspires to a new classicism. (...) He insistently affirmed: "I hope that in my stones there is a spiritual quality that, even if few, some can grasp
In the future I would like to give more spirituality, a sort of mystical involvement ... something special must happen in front of my work. One should glimpse not only the 'beyond', but also the immanence of something highly spiritual ". He senses here the twofold destiny, of the art and of the "form", which Gottfried Ben indicated as "the existential task of the artist, his end" and that Giuliani, as an old and new Mediterranean plastic shaman, indicates thus: " Those who choose art choose to choose. He chooses to act to contemplate. One's needs are of places and actions, of shapes and colors. The figure and the abstract both have these needs ".