Ilaria Gasparroni | Gino Sabatini Odoardi | Adrian Tranquilli

A very special project about sculpture

Curated by Antonello Tolve

Opening | Saturday 11 May, 6 pm | duration 11 May – 15 June 2024

The Kyro Art Gallery in Pietrasanta is pleased to announce Walking #2. A very special project about sculpture: a collective exhibition opening on the 11th of May at 6 pm with the works of Ilaria Gasparroni, Gino Sabatini Odoardi and Adrian Tranquilli. Artists from different yet delightfully divergent latitudes, who focus on projects where tradition and innovation mingle to show a different conception of the subject, entirely open to language from its absolute, inevitable and impartial silence.

In the three modes of sculpture proposed in the second edition of Walking (a format launched in January 2024 to create a numerical declination of all the upcoming collective exhibitions at the gallery) the Bachelardian “material imagination” becomes the common denominator that highlights a constant interest on the problems of matter, researched and used to answer a question that is entrenched in the transformation processes (the problem of manual work) and, therefore, along the theoretical axis of factura, exactly where the operative awareness and reflective intelligence meet.

In her latest works from 2024, made mainly of Calcatta gold marble and Carrara marble, Ilaria Gasparroni (Sant’Omero, 1989) displays a tendency to reconstruct objects from our everyday lives—small fragile items such as the tags we often find attached to a jumper or jeans, or simple semiscrumpled sheets of paper—without changing their formal statutes, but rather reinforcing them through refined sculptural activity and the introduction of phrases (taken from Cesare Pavese, Dino Campana, Emily Dickinson, Alda Merini and Hanya Yanagihara) that derail thought on the plateaus of poetry.

For his part, Gino Sabatini Odoardi (Pescara, 1968) adopts a polystyrene thermoforming technique to create devices capable of interacting with—and in many cases integrating—reality, often employing the sharp blade of irony to create short circuits of thought, visual shocks (assaults on the gaze) and images that are methodologically loaded with a certain ambiguity. These show the importance given by the artist not only to the fold (real and metaphorical in his work), but also to the terrain of the threshold, the edge, something that can divide but can also unite, mix, tune and synchronise different situations, objects and materials.

Through the strategic use of an innovative material (fibreglass, to be precise), the viewers gaze is arched towards mimesis, which rides the mythology of today and restores the epic figure of the superhero (This is not a love song (2023). In this exhibition, it is Batman who seems to emerge out of a wall (from a liquid screen) to then solidify. Since Prophecy of 1998, AdrianTranquilli (Melbourne, 1966) has been creating new stories capable of intersecting the history of art–—from the revival of classical GrecoRoman statuary to Renaissance perfection, from Baroque spectacularity (Bernini is central) to the evolutionary force touched by the neoclassicism of Canova, Acquisti, Morelli—with that of ideas and, consequently, with the different cultural fabrics of humanity.