Design and Architecture as a conceptual tool for expressing the intimate need for self to be shown to be sincerely available to the form. The pierfrancescana idea of the project as a design that proclaims the form presides over the deconstruction of the project otherwise demonstrable as an exercise in manuals. The deconstruction in Giuliani is the liturgical proclamation of the form that sublimates in the idea the magmatic recognition of existence. A "recognizability" that aspires to show the justification of existence itself by virtue of the definite form. In the phenomenal reality of travertine, the wind bends the leaf of the peel of the peeling, that the void really takes possession of the abstract fullness, that whirls of incarnates and arches define the energetic liberation from scoliotic casts. In the rigidity of the form that sublimates, everything moves because everything lives.
The sculpture with travertine and the drawing on paper and cardboard with pastels and waxes, tempera and pencils, are the truth of justified existence for Giuliano Giuliani. Giuliani is even shamanically gripped by the shape. The natural predestination - and certainly not naturalistic and probably, indeed, anti-naturalistic - to the exaltation of a morphology of the material employee - when travertine, as we know, in Giuliani is a living body of thinking and it is very pure eros to express itself - it comes Giuliani to the proclamation of his own objectified intimacy of his state of sincerity: the "sincerity" of which Montini explained in his teaching of Pope Paul VI in the Sistine Chapel in the fateful May 7, 1964. Sincerity as space / place of his own conscience where really to name the names of reality, in a radicality of the nomination that is lacerating and splendid modality of the meditated and pursued and elaborated and nourished and transfigured expression. Sincerity of one's own soul as a disarming recognition of one's own statute as a sculptor, who is recognized by himself, as an artist and artist who carves and caresses the void to listen to his feelings and ideas.
A sincere being that certainly proves to be an ethical reality that is lavished in the substance of one's research work and realized work; but that, by eliminating what is ideological, it achieves the recovery, Maritainian / Severinian, of doing as a craftsman's regality and therefore as an aristocracy of a making that is the Pierfranciscan declination of the humanist pursued to design. By banning any nomenclature of Postmodernism, Giuliani weaves and re-elaborates the languages of modernity to reaffirm the assumption of the humanistic perfectly square icon in the references that call into question the theological formulation and the linguistic assumption of the coordinates declared by Giuliani, Michelangelo and Arturo Martini and Brancusi. In non-scholastic awareness, but rather matured in doing and doing thinking and research, Giuliani comes to the definition of a modernity that experiences the defeats of history in the breath of a breath that forges the earth as a living anatomy and re-establishes harmony of a reunification between the parts that is the declaration of a faith where the fragment is the whole of the work, because the work aspires to define itself, and therefore to recognize itself, as opus.
From primitive / primordial extended and sectioned women, from the first choruses of tree trunk or human body thorax, Giuliano Giuliani pursues his research on volumes as an intolerance of the full ones that must mature in the vacuum, in the tire thought of an original condition always reaffirmed, always recreated. The status of Giuliani's sculpture has always been originally sacred and spiritual. The rilkiano gaze of a tremendous beauty, imposes on the young artist the question between the expressiveness of the material and the conceptual declination of the material. In the Seventies they were Particular and Anatomical Parts, where the "section" was the "division" of unity, and we see women and mountains, women and tree where each of his own nudity exposed the truth of the body in a mirroring own justification. With Androgino's 1989 the anatomy is analogical to the geometric body of an archetypal architecture: in the Nineties it was a Temple, a Wall, a Wall, a Hermitage, a Bath, a Mountain, a Fountain. And the work is also built space, designed to be inhabited. Trunk and Olive Tree foreshadow the disturbing spurts of the Flowers by K. Blossfeldt, the masses in representations of the Crib, the cycle of maturity starting from the Great January 2005, reaching the trespass between 2009 and 2013 with the revisited Mattezzina and Piccola vuoto and the splendid : Angelo, Valle e Nicchia, Caravaggio, of 2009/2011, up to the first of the first and defenseless, of 2013.
The solidity of the cube and of the parallelepiped, of the pyramid and of the trapezium, the realized rotating spheres embedded in an anamorphosis of trapezoids, flake off in front of the evidence of the design of the void. Giuliani sculpts to draw and draw to sculpt. The geometrical figures reinvent a non-Euclidean spatiality that intersects with a quantum temporality, so that the work done keeps the dust of a spurious minimalism on the table, a minimalism held to account only to be contradicted in the ideologically tautological version, to be therefore decanted as a Cézannian alphabet that is bestowed in crumbs as dropped by forgetfulness. In truth, his staying far away from the tautological thought leads Giuliani to the construction of a space to be inhabited. The reference by the artist indicated, of the Brancusi turned on Arturo Martini, flaunts the possibility of reading in the other intriguing reference, which takes into account of Brancusi his association with Duchamp. The artist from Ascoli Piceno follows and listens, sees. But it is alternative to the research that leads to the "work in white" - to refer to the beautiful pages of Paola Mola, with which you turn over Yourcenar -. As he distances himself from the Duchamp who talks with Brancusi, so Giuliani still pursues the LaCenar Margherite in his Oeuvre au noir, from the Flemish Maison de la littérature, towards the antiquities in the open sunshine of the Villa di Adriano, in the Tivoli of 1924, the artist is closer to the sweet disquiet of the alternative Cristina Campo.
And the Field that then wrote of Monks to the icons and of the Good Friday Matild, Byzantine Diary: cost as prefigured in the Florence of 1954 with the Exhibition of the Four Masters, or Masaccio, Paolo Uccello, Fra Angelico, Piero della Francesca; pursued the dialogue of association with Fasani, Draghi, Orelli and, therefore, the Leone Traverso in Urbino - and the Florentine happy sculpture of Venturino Venturi, that is, to the German language "urbinate" with Traverso with which turns to Mario Luzi, Pier Francesco Marcucci, Aurora Chenu, Tommaso Landolfi, Oreste Macrì: with his personality, very dear to Giuliani, by Carlo Bo it seems, right, to cross again the Florence of the Frontespizio in Urbino placed between Piazza Repubblica and Piazza Rinascimento, together with Carlo Ceci with Volponi and Renato Bruscaglia and Giorgio Bompadre -. The geometric structure underlying the figurativity in the work of Giuliani acquires the authenticity of image in his architectural condition, in sculpture, which seems to evoke the arnolfian and masochistic architectural construction. The thought of the art of Humanism is combined in an interlocking of copula never interrupted with the great seasons of contemporary civilization. Costì appears, the feeling of space in the work of Giuliani, adjacent to what was genially carried out by Terragni, certainly more than by Piacentini, ending up at the solicitations of the opposing militancy between Richard Meier and Frank O. Gehry
The iconological triumph of Euclidean transparency in the brilliant Danteum - for example - re-establishes and confirms the terms used by Giuliani in his progress, which will be more than far from the suggestionable Lycian Archipittura, leaving free soul and mind so that Giuliani confronts himself in the ambit of that Albertian building that can be detected inside the Angelico's work - according to the findings of Krautheimer and Castelfranchi Vegas -. Reiterating Giuliani in his work a substantial theology of participation that is expressed in the practice of that "remove" matter to the material to give consistency to the definition of subtlety as lightness. Translating the mineral into vegetable, the stone in the plant, transmuting the "block" into "leaf". The substance substance becomes energy of the gesture. The pressure of condensation translates into the intake of breath, breath, breath: the fiat lux of sublimation in the transcendent of a material that turns out to be the truth of creation - and the representation of this intentional procedure is dictated by the sequence of Genesis according to the reading of father Semeria with the genius of Adolfo Wildt -. The subject in the work of Giuliano Giuliani proclaims for what it is: matter of spirituality. Giuliani's sculpture is a work of spirituality, before being realized as a type of "liturgical fire" performing the liturgical competence - splendid and very elegant, and admired by Mario Botta and Salvatore Settis, they are altar and ambo in San Pietro Martire in Ascoli Piceno , eg; as well as numerous other projects proposed for commissioning, as for the project of the church of Don Bosco in the Diocese of Terni -.
Fra Angelico refers, in the land of Giuliano Giuliani, to Giovan Battista Salvi and to the problems of Federico Zeri carried out from 1952/1957 in the "timeless art" of Painting and Counter-Reformation. Zeri in Sassoferrato, with father Stefano Troiani, crosses the love for art by Paolo Volponi and refers to the geography of religious art that made this land, by Carlo Bo, a "city of the soul". A moral and cultural geography, artistic, which in art squaderna truth and beauty with Volponi its own Gates of the Apennines, 1960 - then reestablished in the cantons of Urbino, 1985 - and spread in the fields and hills reread by Mario Giacomelli and Tullio Pericoli : where literature and art inform an intimate encyclopedism of Liberal Arts to think of listening to the "ultimate truths", as in the madrigals of De Signoribus. In Marche '08, for the Salvi of 2008, I could write: "Giuliano Giuliani proposes himself as an architect of the surface.
The construction of the void is the possibility that the volumes allow the habitability of the space, which is one of the ways to be able to try to live in time. This of Giuliani is the sculpture of time, of the energy of a search for space as habitability of the origins that is given to each one as an inner itinerary of their own format. Between Wildt and Lo Savio, towards Martini and Giacometti, Giuliani has a debt that he performs in his work with Umberto Peschi as reference of an art practiced in the exemplarity of morality, of the ethics that never divides into ideology, in the possibility that art fits the breath of religiosity, of that feeling of humanity that re-establishes the identity of art as an instrument of truth in beauty ". The ability to name the "truth in beauty" means in the art of Giuliano Giuliani restoring the reading that the Angelico gave, with the passion of philology and the participation of the historian, Miklòs Boskovits - precise and poetic the title of the 1994 volume: to meditate. Research on religious-themed paintings in the 12th-15th centuries. Giuliani del Beato Angelico brings with him the silences of the convent of San Marco and the thoughts of those images seen some times in the thoughtful and happy journeys that led him to Provence and Lyon that allowed him to see and stop before the story of " work "in the Inspiration chrétienne there at the Musée des Beaux-Arts, beautifully executed on the monumental staircase walls by Puvis de Chavannes.
Correspondences and assonances chase each other calmly like waves and manes of mountains that the artist of Colle S. Marco of Ascoli Piceno loves to walk along paths happily high and lost between mists and clouds. Beyond the bureaucracy of figurative and abstract art, Giuliani belongs to the educated generation - from the Informal and from Conceptualism, from the anxieties of the Avant-garde and from the freedom of study - in the freedom of one's stylistic linguistic necessity, within a culture of poetics that bypasses the critical fictions of prejudices and informs with iconic prefigurations an alterity that sublimates the phenomenological condition of reality in the living body of religious anatomy. The Androgyne becomes an Angel, and declaims the Annunciation as a space that ascertains the work as the artist has succeeded in imposing, justifying the work, assuming in his heart the responsibility of a necessity, of a freedom, of being the habitable work and, moreover, to be justified in order to behave as a space for habitability: a "letting oneself be inhabited" which is grace received and made its own, found. The matter of spirituality shapes the space-time tire that impregnates the work of its own truth, of being a reality inhabited by form. In the stylistic linguistic structure of the deconstructive architecture of the image, substance is the justification of the form, it is the reality of the reiterated original statute of the image that decides how much of the prophecy rests in the work that is left to dwell by the form.
Assisi / Sassoferrato, February 2014