Carlo Melloni

The approach to Moore is not accidental because it is clear that Giuliani knows the sculptures of the English master, as well as does not ignore certain works by Fontana, Leoncillo and Marino, just to name a local sculptural tradition: rather insistent reminiscences, and he understands in Giuliani's earlier sculptures on which he himself, moreover, is inclined to spread a veil of oblivion, as if they were sins ... of infancy.

His latest works - few, in truth, to be able to express a complete judgment - show the appreciable tendency to emerge from certain emphatic and purovisualistic schemes, typical of a type of academic sculpture, to arrive at less defined forms: torsus and vaguely torsos. headless in an interpenetration of volumes that want to express transport towards a vitalistic, tactile and sensual naturalistic rather than optical. The future will tell us if and to what extent Giuliani will be able to give less uncertain characterization to a plastic research of which he has placed, with such passionate dedication, the interesting premises.

Automatically translated with Google translator. Report inaccuracies to This email address is being protected from spambots. You need JavaScript enabled to view it.

     
   Workers in the Giuliani quarry at Colle San Marco (AP) in the sixties  Catalog-Locandina, 1st exhibition