Writing about an artist means freeing oneself frotti a narrow judgement of each ofhis individuai works ofart in arder tofindfrotti these -vague paths towards disco-vering individuai poetry- reasons and ways of working. One tends to go beyond thè specific tneaning ofthe work ofart in itseìf, favouring an obvious connection between each individuai piece, which together reflect and are interpreted as thè fundamental essense of~the authour’s ideas. In thè case of Giorgi we immediately notice his origin as sculpturer; yet it is evident that a percentage of abstract ari is involved in thè preparation ofhis work.
When forced to moke an analysis of thè sculpture in reference to space, we are obliged to point out thè specific phases between two and three-climension. In order to do so we must observe simply thè nature of thè object itseìf without considering thè generative dy¬namics involved. This way thè work is formed with thè author transtnitting his feelings and placing himseìf at thè centre, asifhe were a part ofhis work, creating and blending his creativity with disciplinary techniques, combining his art with common methodology.
Conse-quentfy thè hypothesis that thè distinction between two and three-dimension is thè main point in this case is quite out of piace. Mere thè dichotomy between painting and sculpture is expressed in thè act of creating, when thè artist places hitnseybody and soul in thè body ofhis creation, transmitting his energy through his work he creates his piece as if it were a redifìnition of himseìf. Onfy thè artist who separates his feelingsjrom his work and observes it with criticism, considers his work as merely shaping and moulding and creates a wrong representation. Sculpture like painting is not ahvays measurable.
This takes me back to thè faci that Del Guercio afew years ago encouraged me to consider thè importance of thè support; in Giorgi’s work thè secon-dary importance he gives to thè distinction between di-mensions is evident; in f act his work is a combinatìon of careful studies and abstraction. Creativity flows both internatty and externally demonstrating thè concepts at thè origin and thè consistency of thè material which becotnes concrete through a specific discipline. Having considered these points it is obvious that Giorgi prefers to go beyond thè static nature of thè object, to one of movement.
The static nature of thè mass is immediately overcome in thè moment of creating. This con be noticed in his first work, ‘Plastiche’, one of a more specific pictorial nature; created through thè study of supports, and in partìcular through thè choice of contetnporary material and its value, which thè author defines as in-trinsicatty man-made and unnatural. The painting car-ried out on a flexible and transparent base becotnes a plastìc covering for three-dimensional structures, which first involve a knowledge of installation before beco-ming sculptures; a sculpture containing both pictorial and structural values. That which interests us most is thè evolution of matter, thè artist’s capacity to grasp an aspect oflife andportray it through his work, his interest in thè incident itseìf, its dynamics, and thè spadai and temporal aspects. These features recur_ in ali his work.
The union of these two aspects, time and space is expressed in thè fact that thè sculpture tends to travel through space; in fact thè movement through space revealed in “Metallo veloce’, is like ajourney of which we must guess thè origin and destination. Physical motion, a movement of thè eyes and a moment of thought, specificalfy evident in ‘Direttrici Nord’ and which with thè addition of accelerated motion are thè fundamental concepts in ‘Fontana’: we shall now anafyse thè sculp¬ture in respect to thè methodological approach applied. Giorgi captures thè movement of water with a copper tool; unlike most he does not change thè fall ofthe water transforming it into a jet bui shows thè naturai move¬ment of running water. Consequentfy thè act of produ-cing, instead of being interpreted as one of creating is given a more traditìonal interpretation where it means simply portraying something as it is in reality. The actual materials applied, copper and water, are of equa! dignity and add a more aesthetìc value to thè sculpture.
Copper and water work together in a way that is not strictfy applied to that of thè usuai fountain. The fine stream of running water creates a union between thè two elements, like vases that are communicating, not onìy as regards to space, but alsofor thè visible message crea¬ted through thè sparkling of thè running water. The vases, with a matt copper finish, due to their acute structure create an impression of acceleration and contrai thè flow of thè water. The change in movement is therefore expressed more explidtly in thè shape and reflections of thè water adding an impression of pro¬gressive acceleration. The verdigris that will gradually form will add a new aspect emphasising thè passing of time.
In ‘Fontana’ (Fountain), intended as a source of mea-ning, as in ‘Prue’ we meet, in a combinatìon of static nature and movement thè concepì of a structure passing through space, ‘Prue dell’esodo’ with its originai inten-tion at piercing thè perspectìve giving an impression of powerful movement, and thè use of inlayed wood cove-rea in painted plastic, are common themes found in Giorgi’s work, where shape and event, time and space, movement and static nature with thè addition ofmecha-nics are ali present.
In partìcular thè abstract connec¬tion between his previous work becotnes concrete in thè layout of ‘Pozzi d’aspirazione’ which are placed toform a pathway. The sharp-edged shape contrasts with thè round sound of suction, shape is deformed on thè inside of thè ‘Pozzi’ (Wells) introducing a new aspect that qf sinking. Through thè dark inner depths thè artist pre-sents thè new theme of attractìon towards a world qf magie or a consciousness of thè severa! existìng dimen-sions of space and ime.
This is repeated in Trono per la Signora Maria’, attrattive yet threatening Uke an abyss. The use of thè rusty melai sheet as thè chair back becomes a focal point in this piece, emphasising thè passing of lime, something which is not simpty there to be observed, buffar a speciflc use; infact its particular curved shape creates an enclosed space that seems ritual. Sitting on it implies placing oneseìf at thè centre where thè area is somewhat hazardous and to risk sinking. To sit on it is Uke meditating and attempting to grasp, in a moment of instability, thè subtle distinction between consciousness and imagination, then awakening rather confusedfy to a sudden loud sharp sound. The sculpture becomes therefore a means through which one risks losing himself.
The artist introduces thè theme of func¬tion in arder to draw one’s attention to a use, not a commonform afuse, Uke that of Fontana’, limited to thè object itselfbut one which immediatefy invites you to put it into practise.
It is in thè particularity of thè shape and thè function that we discover an invitationThe theme of function is also present in thè sculpture ‘Balestra’ and is one of thè main reasons for proposing thè exhibition ‘Interni d’Artista’. The research and experimentation carried out by Gabriele Giorgi when considering thè possibility ofusing iron -thè metal hefavours- is verifica when one actualfyputs thè sculpture to its use,first in an immediate contaci and second when realizing that thè mechanical components function. ‘Balestra’ is a clear demonstration of thè aspects that these pieces nave in common, bound solidfy to their origin and to theirpoetic sculptural roots which become more explìcit in thè moment of installation and use.
This particular sculpture has a precise social contaci with its enviroranent, in thè faci that it represents a public bench; thè dynamic nature of iron, when put to use is proved practical and socially valuable. It is evident when observing thè sculpture that thè artist dedicated a great deal of attention to ‘he initial planning stage, and it is this attention given ind thè technical knowledge expressed through crea-ion that allows thè sculpture to be reproduced. A contact with these sculptures involves thè participation f ali thè senses, and in thè case of ‘Balestra’ that of ound is prominent.
