It is evident from thè result of Giorgi’s work that two main elementi He ai thè roots ofhis expressiveness and demonstrate a determined and strictly controlied will to experiment.
At thè tìme of thè criticai project held in 85/86 when abstract art was defined as either ‘pictorial structure’ or ‘painted structure’ and an increasing importance was being given to thè role of thè ‘supporf, Giorgi began to apply a monochromatic background, brighte-ning it in parts with gestual art. At thè some time as this experiment and stili with thè intention of renewing an already tangible and structural approach, he introduces thè use P.V.C.» and three-di-mensional geometrical sìructures. In substituting can-vas (in painting) and paper (in engraving) with plastic sheeting (P.V.C.) he reveales thè need to emphasize ali thè artistìc aspects of abstract art and thè choice of geo¬metrical modules demonstrates a tendency towards spatiality, even thè choice of vasi brightly coloured backgrounds varying from purple to either red or back reveals thè some tendency.
The three ‘Pali’ created in 1987 are perhaps thè first tangible sign ofa process where paini applied to P.V.C. acts as a cover to rigorous structures transforming them into a mobile installation in space; these modules of various geometrical shape and dimension con be pla-ced, following a rigorous logicai arder, either in a com-position or individually; in this case these large brightfy coloured triangular modules are placed in a zigzag arder.
In ’88-89 thè use of three-dimension in modules goes through a phase ofchange where formai and chromatic elements are reduced; such a change towards more rigorous and concentrated shapes is evident when comparing ‘testimone’ and ‘jabok’. The work dedicated to thè preparation of solid geome¬trìe modules, which are to be later covered by paini, is an opportunity to curry out a study on thè rules of sculpture, thè use of space and thè expressive value of new supports.
Giorgi turned to plastics in 1989 when he created ‘Prue’, a large sculpture in two parts presented in Reggio Emilia, this was first presented in an upright position and then transferred and placed in its flnal positìon in front of thè sixteemh century Coment dedi¬cated to thè Order of Servants ofMary situated in thè hills of thè Marche.
The protruding form of thè two ‘Prue’ (Bows) -created according to thè rules of plastics- placed in a slightfy slanting position give you thè effect of thè presence of something powerful; energy and aggressiveness moul-ded with an antique influence are expressed through thè patina ofold sheets ofiron normaUy used in a shipyard. The attractìve tree-lined avenue where it is situated acts as a perfect surroundings inviting you to approach thè sculpture; at a close-up one senses its massiveness, so¬mething we associate to thè past. Vigour and aggressi¬veness intended as antìque ancestral values are con-stantiy present in Giorgi’s style even in a project where thè concepì of ‘fiinctional use’ interacts with aesthetìcs and a cultural message.
Report on thè ‘functional use’ of a sculpture
According to Gabriele Giorgi a sculpture is not a mere object ofaesthetic value bui thè result offar more com-plex studies. It is clear from his work that energy, creativity and careful study are applied in arder tofind thè specific techniques that will enable thè sculpture to be both functional and to have particular aesthetic va¬lues.
Throughout recent years a series of articles have been printed and exhibitìons have been puf on to compa¬re and anafyse both thè theme ‘functional use’ and thè habit of placing sculptures in an urban environment; these discussions have had an immediate effect on Giorgi and have encouraged him to conform to a con-temporary approach to sculpture. We note from his very fìrst pictorial and iwo-dimensional phases that Giorgi had a naturai tendency towards thè three-dimensional world, something particularly evident in ‘Pali’ (Poles) created in 1987.
The studies he applies at thè initial stages, and which also reflect his cultural origin, add vi-tality and movement to thè sculpture and are fundamen-tal when giving thè sculpture a functional use.
Giorgi applies his own interpretation both to thè aesthe¬tìcs and to thè function without being influenced by formai and chromatic restrictions; severity, static natu¬re, strength, resistance, sharp-edges and in particular thè additìon of functional use, not merely a technical term bui a way ofcreating a direct and active participa-tion on thè pari of thè publìc, are ali characteristìcs of his work.
Larger sculptures, maquettes, projects and notes must therefore be considered under this tight, and are thè result ofa long and dedicated research carried out in thè mechanical laboratory, where he has acquired abun-dant experience.
He has applied this experience to his work and enriched it with aspects and principles of everyday afe.
Trono per la Signora Maria
The sculpture by Gabriele Giorgi, situated in a perfectfy suited environment in thè town of Alatri (Prosinone) re-presents one ofthe results ofa long andfruitful research dedicated to thè theme ‘Trono’ ; thè theme studied through projects, a number of moquette and life-size models has been proved a usejul and stimulating referencrpoint in thè attempi to add a functional use to a sculpture with symbolic and aesthetìs values. By choosing thè neh noble theme of ‘Trono’ (Throne) Giorgi manages to escape from, -though maintaining thè clarity ofits use -thè usuai theme ofthepublic bench, continuousfy brought up throughout thè artistìc spheres in a number of variations in various geographical and cultural fìelds.
Generalizing a universal symbol known throughout historyfor its elite role is an obvious cultural thematic indication of thè artisfs intentìon to create a relations-hìp between thè sculpture and thè public, clearly expres-sed through its title. A recent moquette, composed of three thrones each with a wide base and a four metre-high pyramid-shaped backrest is a definite symbol of re¬search carried out by Gabriele Giorgi; also in this case he has chosen a significarti title ‘Un Trono per Tutti’ (Everyman’s Throne). (Yet to be completed). In thè case of ‘Trono per la Signora Maria” thè artìst decided to reduce thè dimensions and chose a semi-circular backrest in order to create more intimacy; thè circular shape of thè backrest contrasts with thè sharp triangular edges of thè seat which is considered of limited aesthetic importarle; this rotates inwardly and con be adjusted by thè user. Severity and intimacy, pro-tectìon, an enigmatic aspect, circular and triangular shapes, statìc nature and movement are ali components ofa sculpture with a specific use.
‘Balestra’ created in 1990 is another fine example of plastics applied to thè concepì of ‘functional use’; this large bench with its resistant body has both aesthetic and functional values and portrays thè characteristi.es present in Giorgi’s previous work: aggressive energy, inner tension expressed through sharp edges, angles and volumetrie triangles; we notice once again thè presence of thè some geometrie module with harsh gothic peaks.
The ‘functional use’ of this large sculpture takes piace in thè centrai mobile pari and is demonstrated in thè mo¬vement of thè shock absorbers (le balestre) extrapolated from their originai use, and from which thè tìtle origina-les; thè shock absorbers in faci confimi a mechanical function bringing aesthetic lightness and movement to thè sculpture; thin metal sheets placed on thè mobile horizon act as seais. Severe yel in part ironical, ‘Balestra’ is a perfect exam¬ple ofa new cultural project for sculptures which are to be placed in urban areas such as parks or squares.
Giorgi through a carefully applied and well defined expressiveness proposes new projects which con be related to both art and design. Occupying space with clear cui modules which are lo a certain extent enigmatic and thatportray a hint ofance-stral aggressiveness seems a characteristic that reap-pears even in Giorgi’s mosl recent sculptures; thè three ‘Pozzi’ (Wells) that were created in 1990 appear slim-line in aspect despite thè vasi surface they cover -an effect encouraged by thè slots cui into thè material- and portray characierislics of expressive tension together with that ofperceptive tension which is mode evident by thè installation of sound.
Mere once again Giorgi has emphasized thè industriai characteristics by using iron and inslalling a sound that recalls thè origin ofthe wells; in thè some way thè rough aspect ofthe uncovered wires provides a clear cui impression of thè originai environ¬ment; thè three ‘Pozzi’ confimi thè will to appfy as in his other sculptures a functional use to space. Where thè characteristics revealed in ‘Pozzi’ are those of a clear linearity avoiding rhetorical heaviness, though deep-rooted in space, in ’11 Luogo della Forza’ Giorgi intro-duces thè use of mechanics. His most recent sculpture, thanks lo a far clearer and much more delailed projecl, is a faithful inlerprelatìon of ils theme. ‘Il Luogo della Forza’ reveals thè some direct yel indirecl, explicit yet symbolic mechanical movement previously noted in ‘Balestra’; to this striclfy mirdmal module he applies a mechanical process usually found in thè industriai field.
In my opinion his most recent sculptures portray more than one characteristic revealing therefore more than one interest, these work together to enrich thè sculpture. He has dealt with many ihemes sometimes remaining faìthfully to their essential yet in other occasions rene-wing thè means through which he expresses them. Giorgi’s work therefore is in continuai evolulion, though fundamentally it revolves around an essential theme through which he manages to discover infinite facets.