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Roberto Ceccherini's art of modelling (plastic art) is contained in the constant exchange between two apparently opposite orders: geometric architecture and  organic nature ; the first  related to  rational-intellectual attitudes and the second to  passional-spiritual attributes.
Coherence does not always come primarly from the unalterability of the same univocal, monotonous aspect. Ceccherini's personality appears to be unaffected by monotony : it has become richer and richer in its expression through that communication between dissonance  and contradictions. Balancing  different tensions he shows the "fil rouge" of his coherence.
A journey through his works from 1987 up to now let us understand how his swinging between two poles - that suggests also a further abstract-figurative meaning - has been translated into a rhythm of interpenetration, even when one aspect seems to be prevailing on the other.
In the beginning we can find sculptures  influenced by cubism and futurism. Here, the rigorously geometric volumes of "towers" raising in a combination of cones and parallelepipeda or more complex structures such as "La macchina del tempo“ ("The time machine") already betray  the need of extending the communication through a more narrative element which groves the surface leaving signs and colours.Therefore we have a  further exchange between  the  surface  and  the  shape  where the artist establishes such a strong and decisive dialogue as to become the peculiarity of all his production.
Sometimes the "narration" on the surface becomes specular to the one of the shape, almost following the drawing of the project or making its lines stronger by the use of the colour. With this peculiar double communication, Ceccherini's work is the reflection of a wider expressive conception in obtaining plastic, architectural and graphic values. His aim is not giving a decorative aspect to the shape in order to attract more attention.
Undoubtely a similar tendency finds its complete fulfilment through such a versatile material as the ceramic one, where all the values searched for can live together and participate to the artistic expression.
Drawing from different alchemy's to become ceramic, clay is a jealous and generous material at the same time. It needs  long time attendance and great determination to be mastered  and not to be cultivated only to get occasional fruits.
For this reason it is so important to keep in mind the artist's wide experience as a ceramist. Otherwise we could not explain his ability in controlling the effects of the "nuances" from bluish-green to pink and amber-coloured  that underline the traces of signs ,marks and scrapings that make surfaces  vibrating along with thin fraying- like parts or daring cusps animating the volumes.
Turning from the unavoidable vasiform course to sculpture he succeeded in leaving intact the versatility and the richness of that expression peculiar of the ceramic  language  which  develops   shape  and   surface  at  the  same  time without sacrificing them for the form or for the relation space-volume.
This does not mean that that relation is not important. As a matter of fact it  is very significant how  he has opened his" towers"  to make them become "totems" receiving organic elements, taken from a nature which is more a fanciful synthesis than a naturalistic representation  ; how he has assembled them into  more complex architectures, which look monumental independentley from their size; or finally how courageously he has dismembered those same volumes giving autonomy back to their single parts to create installations of mysterious elements linked not also to history and nature, but also to cosmic and extraterrestrial world.
But   Ceccherini is already going further on : new "totems" put together figurative themes more clearly and his symbols run on the surface  also plastically, while the shape appears to be under the influence of a fascinating process of fading which deceives even the perception of three-dimensionality, and urge to search for a new dimension different from the spatial one.

 

"Es.tra forma" Gennaio 1999
Roberta Fiorini