THE GEESE, THE DOG AND THE MAGPIE

I met Livio in a particular period of his life, characterized by a deep change, leaving an intense business activity for a revised vision of his role in the professional world.
Globalization can't be stopped, but only followed.
Since his early years, he has always been active in sports and this attitude allowed him to take up the challenge to organize a new form of business. This decision led him inevitably to widen his field of vision and improve his communicating skills.
Thus, the professional experience becomes his first instrument.
What does all that have to do with a sculpture exhibition?
It is important to understand how Livio is able to lead his own life, while accepting the reality.
"Replace the wrench with the word " is, figuratively speaking, the right metaphor.
The art in fact is nothing more than a continuous reinterpretation of experience, not only for the artist, but also for the observer. It's the tool that sometimes allows you to get rid of the functional mechanism that daily life often entails. It’s a way to gain another point of view, which appears less tangible at first sight, but becomes very useful if you want to open your mind to the possibility to reconsider your own existence.
In the stage of life during which it is natural to do considerations, paradoxically we realize that the numbers are mixed with memories, emotions, often made of simple but indelible things.
Livio sends me the image of a slightly rebel child, grazing the geese together with his loyal dog and carrying a magpie on his shoulder. A strong image that I get when his eyes lighten up, when he reinterprets himself, with that flair and that fantasy, totally free at the end.

GIANPIETRO CARLESSO

FREE_MIND

In the sequence of images published in this catalog, Livio Fantini's sculptures indicate his search path. After the first experience with imaginary representations, mostly involving animal figures from his childhood, he then approached a formal synthesis of the human figure with group compositions or pairs of stylized figures next to each other.
Emerging from these formal researches, there is a precise intention to try the manipulation of different materials, surfaces and finishes. For example the burning of chestnut wood with a blowtorch, the matt polish , the linseed oil finishing , as well as the use of industrial scrap wood particles.
Livio’s technique is constantly evolving. His natural manual skills leads him to try harder and harder materials: from opaque Natisone stone to the noble sculpture materials, like marble and alabaster, in order to explore different possibilities and expressive potentials.
This aspect leads him to develop his perception of the material. The removal, at first only the technical condition of a formal representation, now becomes also a mental condition.
The space gains quality inside the material, which in the act of removing, is now produced also as an internal shape.
The empty relates to the full, it is structured and organized in an autonomous and organic form (belts).
With this reworking process, the material becomes the main actor, not merely a formal means but an expression of the intimate nature itself. The more and more polished surfaces of marble reveal their internal composition, the curves are charged with tension, the thickness is reduced to the essential.

Now the light is part of the sculpture itself, it lives in the transparency of the material, in its empty spaces and in its reflections.
In the last pictures you can clearly see the results of this process: clean, almost minimal shapes, as if they had been purified by the time (the only great master of sculpture), not forced to feel the need to represent or tell something.
They are, in their simple perfection, the tangible evidence of existence.
So, the sculptor Livio Fantini produces his concept of freedom and communicates it in a direct way through its genuine creative force. Free form, free-mind!

GIANPIETRO CARLESSO

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