I have practically gone back in time with my current Framenti sociali vivi This is a time of my youth, when I made sculptures, my own sculptures, that I believed in and still believe in. A time I left with ease, without remorse and almost without noticing it to be able to search unencumbered for my AU idea. A time, however, which I curiously found after a gap of 20 years on my path. This AU path full of enthusiasm and satisfaction but also full of misunderstandings. A path that I would never want to trade with another because it still fascinates me due to its social, human and fair nature which continues to be young, resilient and presently rotating and working within me.
Through AU, the circle to the past could again unconsciously close. In fact, this connection has arisen through several of my videos, some models of my environments and also books I have written. Thus arose an enormous need to rediscover what I had left 20 years ago. I do not want to be misunderstood at this point! This rebound to the past is not just a repetition of what I once did, I resumed work where I left it 20 years ago, i.e. these contemporary works of art, externally reminiscent of my former style, are not just a figurative memory which needs to be dusted – they are also not the weariness of an exhausted artist who wants to give up – on the contrary, they show the maturity that has grown in me, the maturity after 20 years of experience with AU. My current works of art differ from those of the past, they are more social, AUthentic and purer due to the fact that I eliminate the superfluous and offer the viewer only the essential. The subject matter I set for myself urges me to do so simply because I have to work on these sculptures as fragments even more than if I were to shape them entirely and in full due to the fact that I must embody and express the rest of the body which is not visible in these fragments, so to speak. The audience can also see these missing contours as I see them! Imagination and artistry help the viewer to understand the missing lines and contours. This initial step is designed to educate the audience to generally see more than just fragments. The audience must see this “something”, this perhaps intangible, unreachable, unsatisfactory “something” which can ultimately make us more contemplative.
Note: These Framenti sociali vivi should not be shown in an usual aestheticizing way, well illuminated in a beautiful corner of a museums or gallery, in fact exhibited as humanly as possible. For example in a way of daily encounter, to get the feeling of seeing beyond the finished artwork!