Mariano Apa

(...) Travertine for Giuliani is the darkness from which to distil the forms imbued with light: porous, opaque, sensually impressed by the supple plaster that transfigures the body of travertine "from the inside". The martiniana "Sculpture lingua morta" and read by Giuliani with the Wildt de "The art of marble": (the work of art is) "decided because you have concept in mind" and "[...] that no side it benefits so much on others that it breaks the balance, so as to get you out of that harmony of planes, volumes, lines, which must therefore be the principle, the way and the end "and, again Wildt:" [. ..] A peculiar balance of fullness and emptiness thus constitute the characteristic of your conception and the raison d'être of your work ". The excavated travertines are receptacles, stoups, empty laps where primitive ossified intuitions are caressed by saltiness; a heart throbs in the diving suit, a splayed crack opens, and leaves Giuliani who can not imagine, around the work, the whole body of the man, of a parish building. This "fragility" is the force of an identity which, once again proposing the consistency of Tradition, innervates the ethical value of inactivity. Giuliani embodies the reluctance of the Marca d'Ascoli and, if you bear within itself the memory of the astral compositions of the Licini "Nocturnal Flowers", certainly keeps in mind as fixed nails ("right there, before falling into the chasm of the chasm") the gods by Fazzini and Mannucci: to say of the two who fervent a hot Rome of his "School" and primitive in the Gnostic intuitions disseminated by Colla and Villa. Memory builds the condition of actuality, restoring the construction of "doing". A blunt making that expresses informal value - from "Art Autre" - a bend and bend that is the revealing of form when the idea is formed.

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 In the study, 1968