Anna Caterina Toni
Originally from Ascoli Piceno, Giuliano Giuliani belongs to the southernmost area of the Marche. In this place the tradition of stone-working has always been tenacious, in particular the processing of travertine, a building material frequently used in the monuments of Ascoli. Since the early youth years Giuliani has been the stone quarry near the Colle San Marco and the work of generational excavation, through which he tries to penetrate the methods of approaching the stone. In the first period of activity, the young sculptor assumes a figurative language that nevertheless offers a hermetic interpretation, as the works present fragments of a metahistorical character. Subsequent elaborations lead the artist to experimentation on the material, which allows him to simplify more and more the figural forms, to arrive, through a work of synthesis, to works that have an archaic connotation. (...)
The natural seclusion and its lonely seclusion coincide with an artistic choice of factual operation, of reappropriation of a laborious and artisan work of stone's hollow in contrast to fashions and artistic tendencies, easily elaborated. In this way the relationship with the material becomes assiduous attendance, restitution of an idea, embodied in travertine, as a long-awaited response to a tenacious and constant demand. In the nineties the artist reaches an essentiality of structures that he has plasticically defined, almost shaped, to make calcareous material malleable, bending it to aesthetic requirements, thinning it, in order to produce lacerations, crushing of the porous surface, which becomes alive and suffered. Giuliani interprets the true purpose of art, that of transforming an inert material, available in nature, into a sculptural object, which assumes its inner validity and vitality, conferred on it by the artist, so much so as to make it connotative of space. The sculptural forms created by the artist take on the meaning of symbols, evoke primordial images, but at the same time enhance the qualities of the stone, its transformation by the absorption of light, by the emergence of natural colors, for the anfractuosities inherent in the its organic essence, in an artifact intact in its purity and integrity. The primitivism of Giuliani's works is therefore recognizable and identifiable in the characters of severe essentiality, simplicity and linearity of the compositions, in the sacred atmosphere of the find. Recent experiments, carried out on the material in recent years, have led the artist to complete the natural voids of the stone with insertions or completions of the missing parts, made of plaster. The interventions make clear the sculptor's will to give travertine an individual and personal plastic qualification, which transforms it into an object built and manipulated with expressive purposes. The use of color pigment, or the insertion of fabrics in the emptiness of limestone, the seduction offered by gypsum in assuming a politezza of shapes that contrast with the austere roughness of the travertine, is a trend choice that is oriented towards more current solutions and, in a certain sense, elaborated. Giuliani folds the material to combinatorial possibilities, which cancel the primary naturalistic language, rarefied and univocal, in an expressive adaptation to the inventive possibilities of artistic creativity. The insertions and interventions in plaster emphasize the presence of man, his discretion in respecting the find or in wanting to change according to their intentions. In my opinion, Giuliani has returned the myth to history, giving the suggestiveness of the forms represented a human connotation of those who descend in their own time and assume the responsibility of representing it.
|In the garage studio||Set up of Ideal Spaces, Palazzo Malaspina, AP, in the photo with the immanentismo group, 1978|