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“About Lightness”
by Sandro Lorenzini

Art is able to give a beautiful shape to every human thought.
The sensory perception is attracted by beauty, capable to recognize it, while the mind knows how to go back from perceptions to the first idea, which is the origin of the Art event.
This capability to go back to the origin of phenomena is one of the most amazing faculties of intelligence.
Among the categories which mankind can define and in which Art can recognize itself, there is one at the same time simple and rare, clean and precious, genuine and clear. It is lightness.
What I name “suspended compositions” are art objects inhabiting the lightness land, rising and taking shape from considerations about lightness, beauty and truth.
In our world everything that has a weight ineluctably tends to fall down, pressing on a vertical axis, standing the weight on the ground or upon the static volume of an inert pedestal.
Inevitably sculpture belongs since the beginning to the category of weight: because of the materials of which sculpture is made (stone, marble, metal, clay) and because it is made to “stay” it is forced to inhabit a kind of preformed, immutable space, where the occasions of creating astonishment are clipped by foregone postures and placements.
The choice of the lightness field implies a drastic change of placement parameters, both physical and literary.
Wonder and astonishment are formidable instruments to activate mechanisms of acquaintance and recognition, engendering questions about the how and the why and rousing curiosities about the eternal mistery of art.
An object with a beautyful shape, which inhabits the space in an unexpected way, dipped into it, “suspended” in a physical, metaphorical, temporal and philosophical way, can be a tremendous generator of wonder.
Then sculpture, even before announcing its attributes in terms of volume and armony, material and colour, symbol and narration, declares itself as a phenomenon belonging to “lightness”.
A sphere, a cone are beautyful by themselves.
The abstract perfection of these primary shapes signifies the absoluteness of the perfect aesthetic values and natural armony of geometry.
This goes also for all those geometric secondary shapes created by the translation in the space of the primary ones (cones and spheres, therefore) along geometric guidelines (straight, crooked, curved lines).
All these primary and secondary geometric shapes have very strong semantic meanings in our imagination, just because they are visual manifestations of the absolute values they contain.
Mankind unconsciously seeks narrative identifications in pure shapes: then a sphere becomes the sun, a cone the mountain, a crooked line the lightning, a sinusoid the wave.
The semantic identity suggested by the shape takes the same absolute value of it: shape and semantic meaning merge into a symbol.
The image becomes an icon.
Infinite shapes are possible: if I get away from geometrical generation, operating autograph creative choices, I get into a mass of other icons, seeking for a more direct, morphological, metaphorical narration.
My choice then falls on innumerable possible archetypes: the hand, the fish, the flame, the cloud, the flower and so.
It is exciting to prepare many repeated and repeatable modules and set up a corpus of possible letters of a universal alphabet made of iconic shapes and write words with it, or words to write verses, or notes to write melodies: it is the sublime time when the creativity forces the language to choose.
The long, accurate work to prepare the modules, the conscious choice of the clays and glazes, the attention given to every single piece find the creative goal in the composition of a definite image made of some shapes different and similar, opposite and corresponding, dissonant and consonant.
Here, then, my “compositions”.
Suspended, if I let them live in the lightness, fluctuating in an ethereal space, standing on the vertical line of a simple wire.

Suspended composition

2007
stoneware 1250°C, glazes, gold
cm 96x33x13

Suspended composition

2007
stoneware 1250°C, glazes, gold
cm 91x19x14

Suspended composition

2007
stoneware 1250°C, glazes, gold
cm 67x32x18

Suspended composition

2007
stoneware 1250°C, glazes, gold
cm 91x32x13

Suspended composition

2007
stoneware 1250°C, glazes, gold
cm 78x39x13

Suspended composition

2007
stoneware 1250°C, glazes, gold
cm 91x15x15

Suspended composition

2007
stoneware 1250°C, glazes, gold
cm 90x23x15

Suspended composition

2007
stoneware 1250°C, glazes, gold
cm 93x20x15

Suspended composition

2007
stoneware 1250°C, glazes, gold
cm 80x26x11

Suspended composition

2007
stoneware 1250°C, glazes, gold
cm 96x24x14

Suspended composition

2007
stoneware 1250°C, glazes, gold
cm 97x48x14

Suspended composition

2007
stoneware 1250°C, glazes, gold
cm 65x40x14

Suspended composition

2007
stoneware 1250°C, glazes, gold
cm 83x35x14

Suspended composition

2007
stoneware 1250°C, glazes, gold
cm 96x21x15

Suspended composition

2007
stoneware 1250°C, glazes, gold
cm 82x40x13

Suspended composition

2007
stoneware 1250°C, glazes, gold
cm 110x50x15

Suspended composition

2007
stoneware 1250°C, glazes, gold
cm 93x30x15

Suspended composition

2007
stoneware 1250°C, glazes, gold
cm84x38x15

Suspended composition

2007
stoneware 1250°C, glazes, gold
cm 95x42x15

Suspended compositions

2007