Several days have passed since I visited Giuliano Giuliani's exhibition in Ascoli Piceno and the images of his refined sculptures taken from the blocks of travertine extracted from the slope of the hill next to his house come back to my mind with insistence.
They are images of simple and natural unknown figures, findings of nature marked by the artist's work, which now stand out as icons destined to last over time.
The exhibition inside the Forte Malatesta takes advantage of the skilful setting of Graziano Gregori who realizes a strong synergy between the natural elegance of the works on display and the power of the architecture designed within those walls.
The sculptures are presented to the observer as undulating stone slabs folded on themselves, real earth bones that in the configuration of the surfaces highlight the material through cuts and perforations where the stone thins to disappear, creating lights and shadows that underline the plastic design of the whole. In the exhibition, the sculptures, like characters in the middle of a scene, are laid out on simple inclined planes or sometimes only resting on the walls - fragile figures enclosed within thin thicknesses - so that their precariousness is accentuated: uncertain creatures just extracted from blocks of the earth.
The dialogue between these presences and the "tectonic" structures of Forte Malatesta appears fascinating in a contrast of abstract works and constructive geometries with a single geological matrix.
Within this context an intimate complementarity between the strict rigor of the architectures and the sensual surfaces of the sculptures is realized with a continuous dialogue of reciprocal giving-between the different expressive registers.
The works of Giuliani recall a cultured and refined attitude - within the material - with a millenarian craftsman knowledge that we find also in the strict spaces of architecture.
It is surprising how in the essentiality of communication that is established between the works and the visitors are completely superfluous elements of mediation such as supports or pedestals: the sculptures offer themselves as exhibits or autonomous bodies all round, presences just risen from the earth that emanate new life and new light from their wavy surfaces.
Inside the labyrinth of the rooms that are organized on several exhibition floors, the observer walks along the path to the continuous discovery of the works he finds, now on the bottom of a space, now set in the corner of a cell, now in the center of a room where the call of theatrical light projected highlights shadows and reliefs.
This is a message that investigates the depths of the earth, offers new emotions matured within the culture and artistic sensitivity of our time but at the same time allows us to relive ancestral feelings.
Inside the womb of the mother-earth we are offered to investigate and rediscover traces belonging to a primordial history that we can now experience through the language of the artist as a configuration of our time.
In the works of Giuliani we find a dormant memory that through these new images interrogates us silent and discreet on the unknown reasons of our being.