Oriano Galloni Silent Soul

Oriano Galloni Silent Soul

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4

Anime Silenziose

Spesso quando si parla dell’opera di un artista si tende

a suddividerla in fasi.

Questo è corretto solo nel caso in cui le fasi siano esisti-

te veramente e non si sia trattato solo di piccoli ritocchi di

rinnovamento.

Quando nell’arte si cambia strada vuol dire abbandonare

le basi fondanti.

Nel nostro caso l’approdo alle figure che rappresentano

le” Anime Silenziose” è da ritenersi ineluttabile.

I segnali c’erano già, fin dai primi lavori, per l’aspetto

contenutistico e morale.

Se la fase che possiamo definire “classica”, della prima

maturità aveva maturato dal Rinascimento la principale

fonte di ispirazione, sia per quanto riguarda la scultura

che la pittura, per i nuovi lavori c’è la necessità di spin-

gersi ancora più in dietro.

E’ la ricerca di una fonte primitiva, di un’ archetipo da cui

attingere sostanza e trasformazione in spirito.

Personalmente trovo che i “ Kouro1” ionici possano

aiutarci a comprendere quella che potrebbe essere stata

una delle matrici.

Superata la grande innovazione dell’epoca “dorica

arcaica” gli artisti “ionici” dotano la scultura greca di un

elemento innovativo sorprendente: la spiritualità.

Tutto verrà in seguito stemperato dall’esplosione formale

dell’epoca classica, con l’utilizzo di canoni precisi, e che

andrà in “Prassitele”generatore della grande scultura

occidentale, tendente alla perfezione esecutiva.

Oriano compie un’operazione di affinamento sul suo

lavoro conducendo ad una sorte di fase “Ionica”.

Ha compreso che l’equilibrio formale e il virtuosismo non

bastano a liberare l’energia che è racchiusa nella massa,

essa si consuma all’interno, rigenerandosi sempre in un

ciclo chiuso, quasi vizioso.

L’artista sente di dover uscire allo scoperto perchè non

ha più la necessità di dimostrare abilità esecutiva esa-

sperata.

Vuole confrontarsi direttamente con il mondo delle

percezioni, trasformando il suo lavoro in uno strumento

attivo, come un’antenna metafisica, che raccolga i deboli

segnali per restituire suoni vigorosi.

Racconta di essersi trovato in una foresta e di avere

udito, in quel profondo silenzio, la sublime, vitalità che gli

alberi emanavano. Li comprese come ricettori delle ne-

gatività umane, quasi dei filtri, pronti a restituire elementi

positivi.

Le sculture che abbiamo di fronte sono alberi spirituali,

presenze possenti ma rassicuranti, come dei fari per i

naviganti dispersi.

Non è casuale l’impiego del legno per la maggior parte

delle opere.

Permette alle esili figure di generare sensazioni corpose,

di assorbirle e restituirle purificate.

Le componenti in marmo, volti, braccia, piedi, manten-

gono un legame stretto con un originaria capacità di

scolpire.

Rappresentano, con il loro candore, l’elemento di purez-

za insito in questi servitori dello spirito.

In alcuni casi li vediamo muniti di ali dietro le spalle.

Sono angeli o messaggeri che richiamano il mondo a

superare le meschinità.

Sono bellissimi in gruppo, sprigionano una sfida costante

alla quotidianità con la loro presenza vigile.

L’esecuzione formale con l’uso del legno permette varia-

zioni di colore grazie ad intarsi mirabili ma non leziosi.

La luce non è più capace di scavare all’interno della

forma, ma scivola leggiadra, raccogliendo energia dalle

superfici perfettamente modellate.

Le uniche ombre possibili sono quelle generate dalle loro

masse compatte, come fossero delle meridiane viventi.

L’apparente immobilità è lo strumento per scatenare

impulsi dinamici profondi, come insegna la cultura della

pura meditazione.

Ponendo un minimo di attenzione ci si accorge che pos-

sono darci qualcosa di positivo se solo avessimo la forza

di ascoltare.

Forse hanno da donarci una sola parola, che spesso è la

chiave di ogni esistenza.

O. Bertoloni

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Silent Souls

When discussing an artist’s body of work we tend to

subdivide it into phases.

This is true, however, only when those stages truly

existed, and were not instead small re-visitations and

renewals. A change of artistic direction indicates an

abandoning of the foundations. In this case, the Anime

Silenti are an ineluctable arrival. The signs were already

present in the artist’s earliest works, in both their content

and moral aspects.

In Galloni’s first phase (which we might term “classical”),

his point of reference for both sculpture and painting

was the Renaissance. For his new work, he feels the

necessity to push even further back, researching a more

primitive font, and an archetype from which to draw sub-

stance and transform it into spirit.

Personally, I think that the Ionic Kouri can help us under-

stand one of these matrices. Having already surpassed

the great innovations of the Archaic Doric period, Ionic

artists infused Greek sculpture with a new and surprising

element: spirituality. This will later become diluted by the

formal explosion of the Classical epoch, with its embrace

of precise canons of proportion, and Praxiteles, the foun-

ding father of great Western sculpture (with a tendency

towards technical perfection).

Our sculptor brings his work up to the Ionic phase. He

understands that formal proportions and the virtuosity

are not sufficient to release the energy wrapped in the

mass, which is consumed there, and grows again in a

closed loop system.

The artist must move towards discovery, as he no longer

has the need to demonstrate an exasperated technical

ability. He wants to compare himself directly with the

world of sensations, to transform his work into an active

tool, a metaphysical antenna that catches weak signals

and returns strong sounds.

The artist recounts and to have heard, in that profound

silence, the sublime vitality emanating from the trees.

He sees them as receptors of human negativity, so-

mething like a filter, ready to restitute positive elements.

In this, it mirrors the scientific process of plants, which

breathe in human waste and give back oxygen.

The sculptures we have before us are spiritual trees,

strong yet reassuring presences, like a lighthouse for

lost sailors. The use of wood for the main part of these

works is not a casual choice. This allows these lithe

sculptures to generate bodily sensations, to absorb them

and respire them purified. The marble elements—faces,

arms, feet—maintain a tight link with the original capacity

to carve.

They symbolize, with their candor, the intrinsic purity of

these servants of the spirit. Some of them have wings,

they are angels or messengers who ask the world to rise

above baseness.

They are stunning as a group; with their presence they

radiate a steady challenge to quotidian life with their vi-

gilant presence. The wood provides a variation of colors

thanks to the spectacular but not affected carving. The

light doesn’t dig into the shape, but slides lightly over it,

gathering energy from the perfectly modeled surfaces.

The only shadows come from their compact masses, as

if on a living sundial.

The apparent immobility is the instrument for unleashing

profound dynamic impulses, as the cultures of pure

meditation teach us. With just a minimum of attention we

realize that they can give us something positive, if only

we had the strength to listen. Perhaps they only have

one word to offer; often it is a single word which holds

the key to existence.

O. Bertoloni

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Lo sguardo di Giove Wood and white Carrara marble 54 x 48 x 27 cm 2005

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Half Moon (detail) Aluminium, white Carrara marble and black marble 160 x 5,5 x 8 cm 2005

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Silent Soul / Ascoltando (detail) Wood and white Carrara marble 329 x 64 x 35 cm 2006

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Silent Soul / Ascoltando Wood and white Carrara marble 329 x 64 x 35 cm 2006

16

The Cow #2 Oil on canvas 210 x 200 cm 2005

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Saturno Wood and marble 221 x 58,5 x 97 cm 2007

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My Cat loves the Moon Aluminium, wood and white Carrara marble 274 x 60 x 97 cm 2007

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La Luna Oil on canvas 27 x 34,5 cm 2004

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Silent Soul / Nuvola Wood and marble 290 x 37 x 35 cm 2007

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Anima Silenziosa Mixed medium on paper 40 x 80 cm 2003

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The Mercury’s Dream Glass wood and white Carrara marble 220 x 21 x 16 cm 2006

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The Mercury’s Dream (detail) Glass wood and white Carrara marble 220 x 21 x 16 cm 2006

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Voice #4 Aluminium, wood and white Carrara marble 53 x 55 Ø 40 cm 2006

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Silent Soul / Il Pensiero Wood and white Carrara marble 220 x 93 x 73 cm 2006

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Silent Soul Face XXX Mixed medium on marble 15 x 15 cm 2005

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The Snake Wood and white Carrara marble 200 x 11 x 15 cm 2007

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Il Volo Oil on canvas 40 x 50 cm 2005

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Voice in evolution Aluminium and white Carrara marble 63 x 55 Ø 40 cm 2006

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All’ombra di Malta Oil on canvas 240 x 100 cm 2005

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The Man #1 (detail) Aluminium and pencil on white Carrara marble 160 x 5,5 x 8 cm 2005

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Silent Soul Wood and white Carrara marble 252 x 24 x 22 cm 2008

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La Metamorfosi di Apollo (detail) Pencil and acrylic on plastic15 x 40 cm 2006

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Silent Soul / Metamorfosi Wood and white Carrara marble 233 x 23 x 13 cm 2008

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Silent Soul / Metamorfosi (detail) Wood and white Carrara marble 233 x 23 x 13 cm 2008

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Voice 08 Aluminium, white Carrara marble and black marble 34 x 31 Ø 25 cm 2007

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Apollo White Carrara and Norwegian marble 50 x 26 x 20 cm 2008

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L’Orto dei sogni (detail) Wood and marble 228 x 25 x 15 cm 2005

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Melograno Mixed medium on paper 21 x 30 cm 2005

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Il Profumo Wood and marble 280 x 20 x 10 cm 2006

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Il Profumo (detail) Wood and marble 280 x 20 x 10 cm 2006

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The Man #2 (detail) Aluminium and penil on white Carrara marble 160 x 5,5 x 8 cm 2005

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L’Altro (detail) Wood and marble and Oil on canvas 230 x 40 x 20 cm 2005

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Mezzaluna Wood and white Carrara marble 257 x 27 x 9 cm 2007

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Silent Soul 04 White Carrara and Travertin marble 237 x 9 x 12 cm 2007

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Silent Soul / Purificazione Wood and white Carrara marble 350 x 48 x 36 cm 2006

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Centauro Blue Oil on wood panel 75 x 30,5 cm 2008

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Silent Soul 02 Aluminium, wood and white Carrara marble 210 x 20 x 6 cm 2007

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The Cat Mixed media on wood panel 40 x 49 cm 2008

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Silent Soul / Primavera (detail) Wood and white Carrara marble 212 x 16 x 17 cm 2006

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Silent Soul / Autunno Wood and white Carrara marble 212 x 15 x 11 cm 2006

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Moon Rising Oil on wood panel 58 x 75,5 cm 2008

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Eclissi (detail) Aluminium, white Carrara marble and black marble 173 x 15 x 6 cm 2007

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Voice #10 (detail) Aluminium, white Carrara marble and black marble 173 x 15 x 6 cm 2007

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The Cell Oil on canvas 300 x 100 cm 2008

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The White Tree White Carrara marble, black granite and steel 200 x 22 x 10 cm 2008

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Silent Soul Acrylic on cardboard 80 x 110 cm 2008

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Silent Soul / Metamorphosis Wood and white Carrara marble 270 x 33,5 x 32 cm 2008

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Uomo Mucca Oil on canvas 280 x 150 cm 2008

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Il Silenzio Wood and white Carrara marble 254 x 24 x 17 cm 2007

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Silent Soul Pencil on Marble 163 x 37,5 cm 2008

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Anima Wood and white Carrara marble 241 x 36 x 32 cm

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Processing Viola Oil on cardboard 35 x 55 cm 2008

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Silent Soul A3 Wood and white Carrara marble 213 x 10 x 6 cm 2007

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Metamorfosi Aluminium, wood and white Carrara marble 200 x 9 x 8 cm 2007

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Lovers Acrylic on wood panel and resin 84 x 64 cm 2008

120

Evoluzioni Metalliche Iron and Marble 226 x 18 x 14 cm 2007

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The Cell #1 Pencil and acrylic on plastic 100,5 x 40 cm 2008

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Silent Soul D1 (detail) Aluminium, wood and white Carrara marble 196 x 9 x 6,5 cm 2007

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Silent Soul D2 (detail) Aluminium, wood and white Carrara marble 196 x 9 x 6,5 cm 2007

128

Uta Mixed media on paper 21x 30 cm 2004

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Silent Soul E1 (detail) Aluminium, wood and white Carrara marble 173 x 9 x 6,5 cm 2007

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Black Moon Mixed medium on canvas 30 x 40 cm 2008

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Dogma Wood and white Carrara marble 215 x 20 x 18 cm 2006

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Autumn wind Acrylic on wood panel 78 x 61 cm 2008

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Silent Soul A Wood and white Carrara marble 209 x 17 x 9 cm 2006

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Metamorphosis Green Acrylic on wood panel 74,5 x 48,5 cm 2008

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Silent Soul B (detail) Wood and white Carrara marble 196 x 16 x 29 cm 2006

144

Bird Man (detail) Pencil on paper 50 x 70 cm 2008

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Silent Soul Aluminium and white Carrara marble 90 x 8 x 6 cm 2005

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Il Vento Mixed media on paper 21 x 30 cm 2005

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Silent Soul 00 Bronze and marble 208 x 30 x 20 cm 2007

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Ombre 01 Mixed media on marble 30 x 30 cm 2005

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Silent Soul 01 Bronze and marble 210 x 17 x 16 cm 2007

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Ombre 02 Mixed media on marble 30 x 30 cm 2005

158

Silent Soul 03 (detail) Bronze and marble 208 x 30 x 20 cm 2006

160

Il Volo Oil on canvas 30 x 40 cm 2005

162

Gemelli Aluminium, wood and white Carrara marble 197 x 9 x 6 cm191 x 9 x 6 cm 2007

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Mercurio 1 and 2 Aluminium and white Carrara marble190 x 16 x 11 cm 197 x 9 x 6 cm 2007

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Crisalide Aluminium, wood and white Carrara marble 187 x 13,5 x 6 cm 2007

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Silent Soul / Metamorfosi Wood and white Carrara marble 235 x 23 x 6 cm 2007

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The Tree Wood and white Carrara marble 298 x 20 x 15 cm 2007

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Minotauro (detail) Mixed media on canvas 50 x 50 cm 2008

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Gold Head Tree White Carrara and green Indian marble and bronze 228 x 15 x 10 cm 2008

176

Gold Head Tree (detail) White Carrara and green Indian marble and bronze 228 x 15 x 10 cm 2008

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Bird Man #1 Oil on canvas 104 x 24 cm 2008

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Centaurus (detail) Aluminium and white Carrara marble 168 x 11,5 x 26,5 cm 2007

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Centauro Mixed media on canvas 30 x 40 cm 2005

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Silent Soul Mixed media on plastic 25 x 50 cm 2006

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Oriano Galloni

1970 Born in Italy 1970

lives and works in Carrara (Italy), New York (USA) and Zurich (Switzerland)

1988-1992 Academy of fine Art of Carrara, Italy

with final dissertation on sculpture

since 1998 works in the USA

2008 Red Dot Art Fair, Miami, USA

Sculpture Art Fair, Miami, USA

Galerie Le 10, Paris, France

Mark Hachem Gallery, New York, USA

Evan Lurie Gallery, Indianapolis, Beverly Hills (LA), Miami, USA

Art Chicago, Chicago, USA

Art Palm Beach, Palm Beach, USA

2007 Lurie Fine Art Gallery, Miami, USA

Turner Carroll Gallery, Santa Fe, USA

Art Miami, Convention Center, Miami Beach, USA

Westwood Gallery. New York, USA

Mark Hachem Gallery, New York, USA

Toronto International Art Fair, Canada

Evan Lurie Gallery, Carmel, Indianapolis, USA

Art Chicago, Chicago, USA

2006 Gallery Center, Boca Raton, USA

Lurie Fine Art Gallery, Miami, USA

Turner Carroll Gallery, Santa Fe, USA

Art Miami, Convention Center, Miami Beach, USA

Gallery Saint Germain, Los Angeles, USA

Westwood Gallery, New York, USA

2005 Gallery Center, Boca Raton, USA

Lurie Fine Art Gallery, Miami, USA

Turner Carroll Gallery, Santa Fe, USA

The RxArt, New York, USA

Art Chicago, Chicago, USA

Art Palm Beach, Palm Beach, USA

2004 Glass Garage Fine Art Gallery, Los Angeles, USA

The RxArt, New York, USA

Paisnel Gallery, London, UK

Gallery Center, Boca Raton, USA

Art Chicago, Chicago, USA

2003 Glass Garage Fine Art Gallery, Los Angeles, USA

The RxArt, New York, USA

Art & Design Walk 2003, Los Angeles, USA

Paisnel Gallery, London, UK

2002 Lombardo Gallery. New York, USA

Glass Garage Fine Art Gallery, Los Angeles, USA

The RxArt, New York, USA

2001 Lombardo Gallery. New York, USA

Glass Garage Fine Art Gallery, Los Angeles, USA

Artoz – Media, Nuremberg, Germany

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2000 Architectural entrance way for Villa Luna, Suzzara, Mantova, Italy

Marble sculpture commission for Villa Veronica, Forte dei Marmi, Italy

1999 Collective exhibitions, Miami, USA

Galleria Loggia Rucellai, Florence, Italy

Senza Tempo Gallery, Miami, USA

Wright Gallery, Miami, USA

Marble sculpture commission for Villa Luna, Suzzara, Mantova, Italy

Marble sculpture commission for Villa Veronica, Forte dei Marmi, Italy

1998/99 Sirio Arte Gallery Miami, USA

1998 Vertical shape and space, Germany

1996/97 “Icaro’, monumental sculpture for outside area of Villa Luna, Suzzara,

Mantova, Italy

1996 Drawings and sculpture for book cover “Giuliano Dami” by Alberto Bruschi

1995 Marble sculpture commission for Villa Luna, Suzzara, Mantova, Italy

Horizontal shape and space, Cape Town, South Africa

1994 Project studies and drawings, Turin, Italy

Galleria Loggia Rucellai, Florence, Italy

1993 Exhibitions in Florence, Italy

curator Corrado Marsan, Loggia Rucellai, Galleria Mentana, Galleria Pa-

nanti,

Centro d’Arte Spaziotempo, Ken’s Gallery, Galleria Poggiali e Forconi

Galleria Loggia Rucellai, Florence, Italy

1992 Public work of art, Ingolstadt, Germany

1990/91 Galleria Loggia Rucellai, Florence, Italy

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Oriano Galloni Studios:

C/o F.lli Mazzucchelli s.r.l.Via Ilice 2054031 Carrara (Italy)orianogalloni@libero.itwww.lorianogalloni.com

Studio d’Arte CorsaniniViale Zaccagna 654031 Avenza Carrara (Italy)info@corsanini.it

Press-office Italia:

Leonardo Gasperettileonardo@gasperetti.eu

Thanks to:

Oriano Bertoloni

Leonardo Corsanini

Marco Francesconi

Eramis Galloni

Assunta Marsili

Alvaro Mazzucchelli

Vincenzo Mazzucchelli

Caroline Pasche

Sibylle Pasche

Steve Shaheen

Simonetta Vecoli

Beatrice Rolli Zinsstag

Gérard Zinsstag

Oriano Galloni Silent Soul