The material used by Giuliani is travertine. It is the dust and sound of a family, traditional stonemason. In the hard and mountainous anthropology of the Piceno, the archaic world of the ancient resounds with sobbing and forced walks through the woods and up mountains. Attention to work that means simplicity and minimalism in the issues to be addressed. Giuliani develops very few iconographies, yet almost infinite seems to be the value of the meanings placed there: the woman as the Great Mother who, descending from Pomoni di Marini, goes into the "broken paths" of the primitive figures, where the woman is androgynous fat, huge , breast that kills, vagina that devours, or even very sweet caress of thigh and long tenderness of neck modiglianesco. If in the seventies Giuliani was attracted by the unfinished "Torsi", he re-evaluated the expressionism of the post-imperial Roman age, or even the Greek phase of Alexandria. The classical "high" sculpture educates him to the modeling and fascinates him more the energy of a Skopas that does not Prassitele.
And so, rather than Viani, here the sharp forms of existence, to Vangi and Trubbiani, return as an echo that opens the door to his personal expression. An artist of considerable energy, Giuliani's sculpture is all to be configured, in non-spasmodic expectations, not anxious for presenzialism: because the work of the stone has educated him to the seasons of art and not to the full ephemeral of the printed paper. Giuliani wants to print in the conscience the ideality of sculpture as a "living language", as a body odor, as a story of history. Renewing the syntax of tradition, the Piceno sculptor arrives to revive the energy of the primogenia force, of the energy that made men stand upright and allowed the declamation of his name.
Giuliani's sculpture also meets needs of "installation" as a mannered conceptualism; a search perhaps to be purged, to free completely the force inherent in sculpture understood as work, as a happy landing place for the maieutic of stone. Anachronistic to conceive, that everything is projected into the future, because the difficult art of sculpture is the place of the verification of its energies, of its intimate vital energy, that Giuliani introduces as from the inside of the travertine, so that more than "remove", it seems that Giuliani sculpt by "addition", giving life and existence to the shapeless subject.
|Domenico and Mario Giuliani (uncle and father), owners of the homonymous quarry, beginning of the '70s||In the 1974 study|