2008 Vayu

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08

Vayu

Vayu, like Odradek, Fiori and Insiemi Instabili, belongs to a group of works in witch the multiplicity of parts “lacking a clear, recognizable order[read more=”Read More”less=”Read Less”]- as the artist says – seems to respondd to a pure need for growth; almost as if they were following their own secret impulses, expanding in the direction of least resistance”.
The form – the infinite, varied form through which life manifests itself – is the result of this impulse that knows no calm, driven by an overwhelming generative will that seems to have no goal other than reproduction.
In Vayu the twenty parts, with similar forms but different sizes, are scattered on the floor. The title is a Sanskrit term that can be translated as “wind, air, current.” These are jars, containers without bottom, so that paradoxically they can contain nothing. Vessels destined never to be filled, whose form evokes and at the same time negates the empty-full dialectic that is part of the form and function of any container. Crossed by air, these jars evoke the void and, at the same time, the impossibility of its representation.[/read]

Vayu. Terracotta, 20 elements, variable dimensions, 2008 [S0027]

2008 Latte nero

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Latte
Nero

Latte nero is an environmental installation composed of 83 parts in white terracotta that remind us of the form of the female breast,[read more=”Read More”less=”Read Less”]though they are hollow and reveal a dark chasm. Similar but of different size, the individual parts are arranged along the wall, apparently without any order. The work’s title refers to a famous poem by Paul Celan that begins with a disturbing oxymoron: milk, the symbol of nourishment and life, is reversed into its opposite, into denial of food and therefore death. In the work by Ascari, the contrast takes the form of the opposition between the fullness, the turgor of the form, and the black void it reveals: a void that is not just subtraction, but a dizzying attraction towards the infinite.[/read]

Latte Nero. Terracotta, 84 elements variable dimensions, 2008 [S0025]

2008 Fiori

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08

Fiori

“There are no givens, only events and movements… Reality is not composed of things that essentially are and accidentally become[read more=”Read More”less=”Read Less”]- the artist says, speaking of these works – but of processes, i. e. of an essential becoming… Things are not in time, they are time.” A becoming that unfolds before our very eyes in Fiori, a colony of hybrid objects in continuous transformation that are captured and fixed for an instant inside a process of ongoing metamorphosis.[/read]

Fiori. Terracotta, 24 elements 9x11x20 cm ca., variable sizes, 2008 [S0023]

2007 La Freccia che Colpisce il Bersaglio Vola per Sempre

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La Freccia che Colpisce
il Bersaglio Vola
per Sempre

The idea of center as origin, the place from which infinite directions depart, or the infinitely small vanishing point, is found in the iron scultpure Omphalos,[read more=”Read More”less=”Read Less”]a series of ink drawings with the same title, and La freccia che colpisce il bersaglio vola per sempre, a sculpture in white terracotta whose four parts are, in turn, composed of a series of concentric sub-parts sloping towards the inside to form a sort of visual vortex. Omphalos is a word from ancient Greek meaning “navel,” but also umbilical cord, the center of the Earth. The omphalos is the center of the human body, but it is also, significantly, a scar that bears witness to the moment in which we were separated from the maternal body that hosted and generated us; it is the tangible sign of a separation, but also of the conquest of an independent life.
In La freccia che colpisce il bersaglio vola per sempre the concentric circles attract the eye, sucking the gaze towards an infinitely small inner point, triggering a visual vortex. This tiny point is not conceived as the center or the extremity of the world, just as it was not seen as such in Omphalos. Instead, we can say that it is precisely “this vortex,” “this rotation” in a rhythmical movement of being and non-being, of visible and invisible that belongs to all things, and is seen as the extreme meaning of the world. The relationship between these works emerges, then, as tension, a struggle between two poles: not as laceration, but as the intense intimacy, the mutual belonging of the two rivals.[/read]

La Freccia che Colpisce il Bersaglio Vola per Sempre. Terracotta, 4 elements variable dimensions, 2007 [S0021]

La Freccia che Colpisce il Bersaglio Vola per Sempre. Paper model, 2007 [S0021]

La Freccia che Colpisce il Bersaglio Vola per Sempre. Terracotta, 4 elements variable dimensions, 2007 [S0021]

2007 Come fosse in ascolto

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Come Fosse
in Ascolto

The dialectic relationship between order-disorder, expansion-contraction, density-rarefaction, like the generative vitality of the form, are elements also found[read more=”Read More”less=”Read Less”]in many sculptures in iron or terracotta made by the artist starting in 2006: Metameria (Metamerism), Come fosse in ascolto (As If Listening), Latte nero (Black Milk), Odradek, insiemi instabili (Unstable Sets), Fiori (Flowers), Vayu, Omphalos, La freccia the colpisce it bersaglio vola per sempre (The Arrow that Strikes the Target Flies Forever). But also in very recent works, like the installation created for the Museum of Modern Art of Ascona, entitled Memoriale volubile (Fluctuating Memorial). All of them are composed of a series of similar but not identical elements, in terms of form and size, whose number and arrangement varies, also in keeping with the place where they are positioned. In all these works, the unavoidable relationship with space makes them take on different aspects, demonstrating a flexibility, a capacity to adapt, that is part and parcel of the generative will that dwells inside them. Their components tend to multiply in a movement that without compromising individuality unites them in an ongoing metamorphosis.
Both Metameria, an iron sculpture composed of 23 parts, and Come fosse in ascolto, made of 21 parts in white terracotta, are organized on a plane, on a longitudinal axis, in order of decreasing size, symmetrical to a central element, or “in a rhythm of crescendo and diminuendo,” as the artist says, borrowing terms from the language of music. Both focus on the question of symmetry and its disruption, the dialectic between order as a principle of stability and disorder as a generative factor. Besides, both suggest similarities with imaginary organic structures, although there is no actual intention of mimicking reality: the point is not to represent – in the sense of re-producing – anything that exists, but to bring into being forms that reveal their shared belonging to an imaginary organic world. In Come fosse in ascolto there is a balance between the single parts that almost has a musical shape: from the low central note of the central element to the gradual ascent of pitch, in two opposite directions, towards the ends. The reference to sound in the title can also be connected with the form of the elements that make up the sculpture, which recall strange auricles and suggest the idea of a mysterious listening device.[/read]

Come Fosse in Ascolto. Terracotta, 21 elements 550x55x30 cm approx., 2007 [S0020]

2012 Opera Ultima

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Opera
Ultima

(english version coming soon)

1) Opera Ultima come Work In Progress. Opera in tensione. Tendente ad essere. Opera in corso d’opera.
Incompiuta. In agonia. Lavoro di cui venire a capo. Finalmente.[read more=”Read More”less=”Read Less”]2) Opera Ultima come Capo-Lavoro. Non primo di tutti i lavori, il più eccelso di un’intera
opera d’artista, ma ultimo lavoro d’apprendista. Opera Ultima come fine d’un apprendistato.
3) Opera Ultima come Caput Mortuum. Come ciò che, da ultimo, resta. Parte finale d’un lento processo.
Feccia oscura, inerte. Residuo, senza utilità. Scoria, caput mortuum, merda. (Questione ulteriore se da quest’ultima, dalla merda, possa trarsi oro).
4) Opera Ultima come Opera Aurea. Comunque, mai al di qua della sua bellezza. Oro-oro. Anche letto alla rovescia, oro. Al di là dell’utile, comunque.
5) Opera Ultima come Opera Senza Utilità. All’Utile inassegnabile. Essenziale. E inutile.
6) Opera Ultima come Opera Vana. Spazio. Materia sottratta alla materia per fare il vuoto, per creare proprio quella cavità, il vano necessario. Vuoto che accolga, vano che racchiuda.
7) Opera Ultima come Esorcismo. Scongiuro tentato contro la paura del vuoto. Del nulla.
E, assieme allo sgomento, alla paura che comunque permane, irresistibile l’attrazione per ciò che non è dato conoscere. La tentazione estrema.
8) Opera ultima come Eskaton.[/read]

Opera Ultima. Terracotta, variable dimensions, 2012 [S0031]