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[\/et_pb_slide][\/et_pb_slider][\/et_pb_column][\/et_pb_row][\/et_pb_section][et_pb_section fb_built=”1″ _builder_version=”4.16″ inner_width_tablet=”50px” inner_max_width_tablet=”50px” z_index_tablet=”500″ box_shadow_horizontal_tablet=”0px” box_shadow_vertical_tablet=”0px” box_shadow_blur_tablet=”40px” box_shadow_spread_tablet=”0px” global_colors_info=”{}”][et_pb_row _builder_version=”4.16″ background_size=”initial” background_position=”top_left” background_repeat=”repeat” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.16″ custom_padding=”|||” global_colors_info=”{}” custom_padding__hover=”|||”][et_pb_text admin_label=”Enter my world” module_class=”mio-mondo” _builder_version=”4.27.4″ text_font=”|600||on|||||” text_text_color=”#4d4d4f” text_font_size=”20px” header_2_font=”|300||on|||||” header_2_text_align=”center” header_2_text_color=”#4d4d4f” header_2_font_size=”36px” text_orientation=”center” hover_enabled=”0″ z_index_tablet=”500″ text_text_shadow_horizontal_length_tablet=”0px” text_text_shadow_vertical_length_tablet=”0px” text_text_shadow_blur_strength_tablet=”1px” link_text_shadow_horizontal_length_tablet=”0px” link_text_shadow_vertical_length_tablet=”0px” link_text_shadow_blur_strength_tablet=”1px” ul_text_shadow_horizontal_length_tablet=”0px” ul_text_shadow_vertical_length_tablet=”0px” ul_text_shadow_blur_strength_tablet=”1px” ol_text_shadow_horizontal_length_tablet=”0px” ol_text_shadow_vertical_length_tablet=”0px” ol_text_shadow_blur_strength_tablet=”1px” quote_text_shadow_horizontal_length_tablet=”0px” quote_text_shadow_vertical_length_tablet=”0px” quote_text_shadow_blur_strength_tablet=”1px” header_text_shadow_horizontal_length_tablet=”0px” header_text_shadow_vertical_length_tablet=”0px” header_text_shadow_blur_strength_tablet=”1px” header_2_text_shadow_horizontal_length_tablet=”0px” header_2_text_shadow_vertical_length_tablet=”0px” header_2_text_shadow_blur_strength_tablet=”1px” header_3_text_shadow_horizontal_length_tablet=”0px” header_3_text_shadow_vertical_length_tablet=”0px” header_3_text_shadow_blur_strength_tablet=”1px” header_4_text_shadow_horizontal_length_tablet=”0px” header_4_text_shadow_vertical_length_tablet=”0px” header_4_text_shadow_blur_strength_tablet=”1px” header_5_text_shadow_horizontal_length_tablet=”0px” header_5_text_shadow_vertical_length_tablet=”0px” header_5_text_shadow_blur_strength_tablet=”1px” header_6_text_shadow_horizontal_length_tablet=”0px” header_6_text_shadow_vertical_length_tablet=”0px” header_6_text_shadow_blur_strength_tablet=”1px” box_shadow_horizontal_tablet=”0px” box_shadow_vertical_tablet=”0px” box_shadow_blur_tablet=”40px” box_shadow_spread_tablet=”0px” text_text_align=”center” global_colors_info=”{}” sticky_enabled=”0″]<\/p>\n
Architecture, Studio 202<\/a> Sculpture<\/a> Design<\/a> Giovanni Casellato graduated in architecture at the IUAV in Venice. He works as a designer and a sculptor using iron as his main material. He has exhibited in\u00a0some of the major Italian and European cities, and participated in the Biennale di Venezia in 2008, invited by the Ministry of Environment. Mentioned by Banca\u00a0Aletti for sculptor as investment art. Giovanni searches within each piece for the fascination and charm of the \u201cpiece\u2019s uniqueness\u201d, working meticulously on\u00a0the shape and on the finish in a way to value its natural aspect, sometimes combining other materials or by using a different oxidation and grinding process.<\/p>\n I have lived with iron my whole life, my father and grandfather were blacksmiths.\u00a0I remember the nauseating smell of the liquid used for cooling down the circular saws, and the\u00a0noise, sometimes deafening, sometimes harmonious, while the iron was being cut in the workshop.\u00a0I remember the pain when touching the tubes, curls or just forged metal and my father\u2019s warning:\u00a0\u201cBe careful!\u201d\u00a0 Giovanni Casellato<\/p>\n Everybody understands something about art: the philologist, the theologian, the critic, the lawyer,\u00a0the shop assistant, the art historian and the neighbour.\u00a0We all are ready to talk about art, to discuss it, to evoke myths and legends, and in the end to\u00a0judge what art really means.\u00a0Over the years, often I have had the chance to witness various exchanges of views, and to listen to\u00a0many disagreements, but in the end, one reaches and one reaches still only one conclusion: art is\u00a0something which goes beyond one\u2019s personal judgment, it is something that exalts the soul of the\u00a0one who is able to listen to the harmony of it. Because music is art and art could not be without its\u00a0visual expression.\u00a0It is this pleasant resonance that reaches the profound that I find in Giovanni Casellato\u2019s work, he\u00a0is a very refined artist \u2013 designer who is able to sacrifice the concept of utility for an art of\u00a0imaginative life, with its own autonomy from the real, entrusted not to reason but to instinct. His\u00a0works present perfect smooth surfaces called plates alternating each other with squared levels\u00a0which seal the shape, sinuous curves that modulate as in \u201cMarinella\u2019s Song\u201d, moulding constantly\u00a0in different and new ways, like an inexhaustible chain of creation. There is a rhythmic succession\u00a0of volumes, open and closed, spread and knotted \u201cbonds\u201d always summing up in perfect linearity\u00a0and in mirroring back, of large and expanded breath.\u00a0At the same time, Casellato constantly recalls the relationship between the plasticity and the\u00a0architecture, he conceives in his work the same interpretation for indoor and outdoor spaces. This\u00a0leap into the immutable dimension of time and space boosts the artist towards the recognition of\u00a0the sculpture-design with the great traditions of statuary.\u00a0A concrete example is found in the large left hand on the cello \u201cto Mario Brunello\u201d, an almost\u00a0totemic figure re-thought and re-launched in the dimension of a triumphant monumentality. We\u00a0find the same aspect in a previous work \u201cWool Ball\u201d which is tied to Arianna\u2019s Thread which seems\u00a0to lead to a freedom of thought that becomes thinner and thinner, accompanied by a muffled\u00a0sound. Or even \u201cTriptychs\u201d, works of art with a great essence of form, which rise to the infinite and\u00a0are capable of transmitting the illusion of a three-dimensional form on a two-dimensional surface.\u00a0Also \u201cFrancesca\u2019s Airplanes\u201d as \u201cFilippo\u2019s Kites\u201d and \u201cLaila\u2019s Little Boats\u201d seem to go beyond\u00a0imagination and whispering with their movement, in the air, in the water, or in nothing, lovely music\u00a0which is moving away to be imagined, beyond the same boundary of a hypothetical horizon in the\u00a0unconscious of each spectator.\u00a0Now is the time to focus on \u201cSufi Dancer\u201d which appears to be the synthesis of all Casellato\u2019s work.\u00a0The perfect shape is expressed in the colour of purity, the absolute white, and in the thin, three\u00a0dimensionality deliberately not expressed. The tiny but perfect harmony of proportion and\u00a0movement and the rotating dance accompanied by a sweet melody of a ney, with its own sound,\u00a0sensitive and delicate, represent the divine breath from which all creatures take life. The result of\u00a0this sensory mix is a sculpture which evokes powerful emotions.<\/p>\n Marika Lion [\/et_pb_text][\/et_pb_column][\/et_pb_row][\/et_pb_section]<\/p>\n","protected":false},"excerpt":{"rendered":" Enter my world Architecture, Studio 202 Sculpture Design BiographyGiovanni Casellato graduated in architecture at the IUAV in Venice. He works as a designer and a sculptor using iron as his main material. He has exhibited in\u00a0some of the major Italian and European cities, and participated in the Biennale di […]<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_et_pb_use_builder":"on","_et_pb_old_content":"
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box_shadow_spread_tablet=”0px” global_colors_info=”{}”]<\/p>\nBiography<\/h3>\n
\u00a0<\/h3>\n
Giovanni Casellato narrated by\u00a0Giovanni<\/h3>\n
Iron is a metal I have learned to love by working with it, and something I almost use with defiance,\u00a0because it is dirty, heavy, difficult to handle and inconvenient to carry. It is a game, the alchemy\u00a0between knowledge and static, exploiting it and challenging it to obtain illusions.\u00a0I look for ways to give lightness to very heavy structures such as \u201cRibbon\u201d which looks soft and\u00a0light with its curves but weighs as much as a small car, or \u201cFilippo\u2019s Kites\u201d which seem to fly even if\u00a0made of iron.\u00a0I exploit the metamorphosis of iron by favouring the oxidation process, exalting the warm tonalities\u00a0of brown and yellow ochre or grinding, to contrast the natural grey colour of the calamine in the iron\u00a0thus contributing to eradicate the common look of iron with transparent varnish on natural iron\u00a0which aesthetically gives it a \u201ccold\u201d finish.\u00a0
Just after graduation, I was chosen to participate in the Milan Furniture Fair where I displayed\u00a0several objects which I designed and manufactured in different materials including iron. The Fair\u00a0gave me the possibility to meet and get to know many great masters like Achille Castiglioni. He\u00a0urged me to use iron initially as the material for my work because he saw the capacity I had to\u00a0mould iron in a way which is very different from the traditional method of \u201cwrought iron\u201c, and I …\u00a0followed his advice.\u00a0
My first approach to the art world began subsequently, at the same time when I fell in love with\u00a0iron, and when my children were born, the primary \u201dmuse\u201d inspiration of my work, as in \u201cFilippo\u2019s\u00a0Kites\u201d and \u201cLaila\u2019s Little Boats\u201d. I was able to let go of the concept of the functional use of iron and\u00a0to dedicate myself to the pure interpretation of objects and non objects which excites my curiosity\u00a0and makes me smile: by using different techniques in order to work with one theme or another, with\u00a0the need to experiment as in \u201dTapestry\u201d, \u201cWool Ball\u201d or \u201cMarinella\u2019s Song\u201d. By almost taking\u00a0possession of my work technique, I narrate and represent a subject, and afterwards, it becomes\u00a0obsolete in the approach of the next piece.\u00a0I see my growth as a journey through my work: I think of the difference between \u201cto Mario Brunello\u201d\u00a0and \u201cSufi Dancer\u201d, between \u201cButterfly\u201d shown at the Venice Biennale and the \u201cEmigrant\u201d tables.\u00a0I express evolutions or involutions like a reflection of the state of my being in an unconscious way\u00a0through the art that I have projected and made.\u00a0I observe my sculptures chronologically and I re-live the emotions felt while growing, I remember\u00a0the difficulty, the joy, the effort, the dips and peaks of energy at the embryonic stage, the laughter\u00a0… the curses.
\u00a0I think how lucky I am to live my work with passion, to physically interpret concepts or ideas that\u00a0are recognised and endorsed by people who take possession of my work to enhance their spirit or\u00a0simply to smile by recalling memories.<\/p>\n\u00a0<\/h3>\n
The musicality of Giovanni Casellato<\/h3>\n
Art Advisory<\/p>\nBiografia<\/h3>\r\nLaureato in Architettura presso lo IUAV di Venezia, da diversi anni si occupa di design e scultura, utilizzando il ferro come materiale da cui partire per i suoi\u00a0lavori. Ha esposto in alcune delle maggiori citt\u00e0 Italiane ed Europee, partecipando anche alla Biennale di Venezia nel 2008 invitato dal Ministero\u00a0dell\u2019Ambiente. Menzionato da Banca Aletti quale scultore per investimento d\u2019arte. Giovanni ricerca in ogni pezzo il fascino del \u201cpezzo unico\u201d, lavorando\u00a0meticolosamente sulla linea e sulla finitura in modo da valorizzarne il suo aspetto naturale, usando vari processi di ossidazione ed interventi di smerigliatura o\u00a0associandolo a volte ad altri materiali.\r\n
Giovanni Casellato raccontato da Giovanni<\/h3>\r\nConvivo con il metallo da quando ero bambino, prima di me due generazioni di fabbri.\u00a0Ricordo l'odore per me nauseante del liquido usato per raffreddare le seghe circolari durante il\u00a0taglio dei profili nel laboratorio, il rumore a volte assordante, a volte armonico.\u00a0Il dolore al contatto occasionale con tubi, lamiere, riccioli o decori appena forgiati accompagnati da\u00a0un \u201csta tento\u201d di mio padre.\r\nIl ferro, un metallo che ho imparato ad amare lavorandolo e che uso quasi con sfida perch\u00e9 \u00e8\u00a0sporco, pesante, difficile da gestire, scomodo da trasportare.\u00a0Un gioco, una alchimia tra conoscenza e statica, sfruttandola e sfidandola per ottenere illusioni,\u00a0cercare di dare leggerezza a strutture molto pesanti come il \u201cNastro\u201d agli occhi morbido e leggero\u00a0nelle curve e pesa come una utilitaria, o gli \u201cAquiloni di Filippo\u201d, che seppur di ferro volano.\u00a0Sfruttare la metamorfosi dello stesso favorendo processi di ossidazione, esaltando i toni caldi dal\u00a0marrone al giallo ocra o smerigliature, per contrastare i grigi naturali della calamina del ferro,\u00a0contribuendo a togliere quel luogo comune che vede il ferro naturale verniciato trasparente come\u00a0una finitura esteticamente \u201cfredda\u201d.\r\nAppena laureato, sono stato selezionato per partecipare ad una esposizione durante il Salone del\u00a0Mobile di Milano con oggetti di design da me disegnati e autoprodotti in diversi materiali, compreso\u00a0il ferro. Questo mi ha dato la possibilit\u00e0 di confrontarmi e conoscere molti maestri come Achille\u00a0Castiglioni che mi esort\u00f2 ad usare il ferro come materiale da cui partire per i miei progetti, vista la\u00a0capacit\u00e0 che avevo di plasmarlo, lontano dai canoni tradizionali del \u201cferro battuto\u201d, e io... l'ho\u00a0ascoltato.\r\nI miei primi approcci con il mondo dell'arte nascono successivamente, in contemporanea\u00a0all'innamoramento di questo materiale e alla nascita dei miei figli, fondamentali \u201cmuse\u201d ispiratrici\u00a0del mio lavoro, come gli \u201cAquiloni di Filippo\u201d e le \u201cBarchette di Laila\u201d. Riuscire a staccarsi dalle\u00a0destinazioni d'uso pratiche e dedicarsi alla pura interpretazione di oggetti e non oggetti che a me\u00a0suscitano curiosit\u00e0 o regalano sorrisi: l'uso di tecniche diverse per affrontare l'uno o l'altro tema con\u00a0il bisogno di sperimentare come l' \u201cArazzo\u201d o i \u201cGomitoli\u201d o \u201cCanzone di Marinella\u201d. Quasi che\u00a0appropriatomi di una tecnica di lavorazione, per raccontare o rappresentare un soggetto,\u00a0diventasse dopo obsoleta nell'approccio con il progetto successivo.\u00a0Il mio percorso di crescita lo vedo attraverso le mie opere: penso alla diversit\u00e0 tra \u201ca Mario\u00a0Brunello\u201d e \u201cDanzatore di Sufi\u201d, tra la \u201cFarfalla\u201d esposta in Biennale di Venezia e i tavoli\u00a0\u201cEmigrante\u201d.\u00a0Evoluzione o involuzione come riflesso del mio stato d'animo espresso in modo anche inconscio\u00a0dalle cose che ho progettato e realizzato.\u00a0Osservo le sculture in ordine cronologico e rivivo le emozioni provate mentre crescevano,\u00a0ripercorro le difficolt\u00e0, le gioie, le fatiche, i cali e i picchi di energia nella fase embrionale, le\u00a0risate ... le imprecazioni.\r\nSe penso alla fortuna che ho nel vivere il mio lavoro con passione, interpretare fisicamente concetti\u00a0o riflessioni, riconosciute e fatte proprie da persone che se ne appropriano per esaltare il loro\u00a0spirito o semplicemente perch\u00e9 vedendole strappano un sorriso rievocando ricordi.\r\n\r\nGiovanni Casellato\r\n
La musicalit\u00e0 di Giovanni Casellato<\/h3>\r\nTutti capiscono qualcosa dell\u2019arte: il filologo, il teologo, il critico, l\u2019avvocato, il commesso, lo storico\u00a0dell\u2019arte e il vicino di casa.\u00a0E tutti siamo pronti a parlarne, discuterne, evocare miti e leggende, e infine giudicare cosa sia\u00a0veramente arte.\u00a0In tanti anni, spesso mi \u00e8 capitato di assistere a diversi scambi di vedute, e di sentire tante opinioni\u00a0disaccordi, ma alla fine si giungeva e si giunge tuttora ad una sola conclusione, l\u2019arte \u00e8 qualcosa\u00a0che va oltre ogni giudizio personale, \u00e8 qualcosa che sublima l\u2019animo per chi sa ascoltare l\u2019armonia\u00a0dell\u2019arte. Perch\u00e9 la musica \u00e8 arte, e l\u2019arte non pu\u00f2 essere che la sua espressione visiva.\u00a0E\u2019 proprio la gradevole sonorit\u00e0 che giunge all\u2019intimo, che ritrovo nelle opere di Giovanni Casellato,\u00a0un raffinato artista-designer capace di sacrificare il concetto di utilit\u00e0 per un\u2019 arte di vita\u00a0immaginativa, dotata di una sua autonomia del reale, affidata non alla ragione ma all\u2019istinto. Le sue\u00a0opere presentano superfici perfettamente lisce chiamate piatti, che si rincorrono alternandosi a\u00a0piani squadrati che sigillano la forma, curve flessuose che la modulano come \u201cCanzone di\u00a0Marinella\u201d, plasmando in modi sempre diversi e nuovi, come in una inesauribile catena di\u00a0invenzioni. Ecco un succedersi ritmico di volumi aperti e richiusi, sparsi e annodati \u201clegami\u201d,\u00a0sempre riassunti in una ideale linearit\u00e0 e in reciproci e speculari rimandi, di grande ed espanso\u00a0respiro.\u00a0Al tempo stesso Casellato, richiamato costantemente dal rapporto tra la plasticit\u00e0 e l\u2019architettura,\u00a0concepisce nelle sue opere la medesima lettura per una ambientazione sia all\u2019aperto che in spazi\u00a0chiusi. Questo tuffo nell\u2019immutabile dimensione del tempo e dello spazio, investe l\u2019artista di una\u00a0grande spinta verso il riconoscimento della scultura-design con la grande tradizione della statuaria.\u00a0Un esempio concreto lo troviamo nella grande mano sinistra posta sul violoncello \u201ca Mario\u00a0Brunello\u201d una forma quasi totemica rimessa in gioco e rilanciata nella dimensione di una trionfante\u00a0monumentalit\u00e0. Lo stesso lo troviamo in un opera precedente \u201cGomitolo\u201d che legato da un Filo\u00a0d\u2019Arianna sembra condurre alla libert\u00e0 di un pensiero che si assottiglia pian piano, accompagnato\u00a0da un suono ovattato. O ancora i \u201cTrittici\u201d, opere con una grande essenzialit\u00e0 di forma che si\u00a0innalzano all\u2019infinito, capaci di trasmettere l\u2019illusione della forma tridimensionale su una superficie\u00a0bidimensionale.\u00a0Anche gli \u201cAerei di Francesca\u201d come gli \u201cAquiloni di Filippo\u201d e le \u201cBarchette di Laila\u201d, sembrano\u00a0andare oltre l\u2019immaginario e sussurrare con il loro movimento, in aria, nell\u2019acqua, o nel nulla,\u00a0leggiadre musiche che si allontanano per essere immaginate, oltre quello stesso confine di un\u00a0ipotetico orizzonte dell\u2019inconscio di ogni spettatore.\u00a0Giusto porre ora l\u2019attenzione alla scultura \u201cDanzatore di Sufi\u201d, che si presenta come la sintesi di\u00a0tutta l\u2019Opera di Casellato. La forma perfetta si estrinseca nel colore della purezza, il bianco\u00a0assoluto, e nella tridimensionalit\u00e0 sottile e volutamente non dichiarata. L\u2019esile ma perfetta armonia\u00a0di proporzioni e di movimento e la danza circolare accompagnata da una dolce melodia di un ney,\u00a0che con il suo suono sensibile e delicato, rappresentano il soffio divino da cui tutte le creature\u00a0traggono vita. Il risultato di questo miscuglio di sensorialit\u00e0 \u00e8 una scultura che evoca grandi\u00a0emozioni.\r\n\r\nMarika Lion\r\nArt Advisory\r\n\r\n\u00a0\r\n
Biography<\/em><\/h3>\r\nGiovanni Casellato graduated in architecture at the IUAV in Venice. He works as a designer and a sculptor using iron as his main material. He has exhibited in\u00a0some of the major Italian and European cities, and participated in the Biennale di Venezia in 2008, invited by the Ministry of Environment. Mentioned by Banca\u00a0Aletti for sculptor as investment art. Giovanni searches within each piece for the fascination and charm of the \u201cpiece\u2019s uniqueness\u201d, working meticulously on\u00a0the shape and on the finish in a way to value its natural aspect, sometimes combining other materials or by using a different oxidation and grinding process.<\/em>\r\n
Giovanni Casellato narrated by\u00a0Giovanni<\/em><\/h3>\r\nI have lived with iron my whole life, my father and grandfather were blacksmiths.\u00a0I remember the nauseating smell of the liquid used for cooling down the circular saws, and the\u00a0noise, sometimes deafening, sometimes harmonious, while the iron was being cut in the workshop.\u00a0I remember the pain when touching the tubes, curls or just forged metal and my father\u2019s warning:\u00a0\u201cBe careful!\u201d\u00a0<\/em>\r\nIron is a metal I have learned to love by working with it, and something I almost use with defiance,\u00a0because it is dirty, heavy, difficult to handle and inconvenient to carry. It is a game, the alchemy\u00a0between knowledge and static, exploiting it and challenging it to obtain illusions.\u00a0I look for ways to give lightness to very heavy structures such as \u201cRibbon\u201d which looks soft and\u00a0light with its curves but weighs as much as a small car, or \u201cFilippo\u2019s Kites\u201d which seem to fly even if\u00a0made of iron.\u00a0I exploit the metamorphosis of iron by favouring the oxidation process, exalting the warm tonalities\u00a0of brown and yellow ochre or grinding, to contrast the natural grey colour of the calamine in the iron\u00a0thus contributing to eradicate the common look of iron with transparent varnish on natural iron\u00a0which aesthetically gives it a \u201ccold\u201d finish.\u00a0<\/em>\r\nJust after graduation, I was chosen to participate in the Milan Furniture Fair where I displayed\u00a0several objects which I designed and manufactured in different materials including iron. The Fair\u00a0gave me the possibility to meet and get to know many great masters like Achille Castiglioni. He\u00a0urged me to use iron initially as the material for my work because he saw the capacity I had to\u00a0mould iron in a way which is very different from the traditional method of \u201cwrought iron\u201c, and I ...\u00a0followed his advice.\u00a0<\/em>\r\nMy first approach to the art world began subsequently, at the same time when I fell in love with\u00a0iron, and when my children were born, the primary \u201dmuse\u201d inspiration of my work, as in \u201cFilippo\u2019s\u00a0Kites\u201d and \u201cLaila\u2019s Little Boats\u201d. I was able to let go of the concept of the functional use of iron and\u00a0to dedicate myself to the pure interpretation of objects and non objects which excites my curiosity\u00a0and makes me smile: by using different techniques in order to work with one theme or another, with\u00a0the need to experiment as in \u201dTapestry\u201d, \u201cWool Ball\u201d or \u201cMarinella\u2019s Song\u201d. By almost taking\u00a0possession of my work technique, I narrate and represent a subject, and afterwards, it becomes\u00a0obsolete in the approach of the next piece.\u00a0I see my growth as a journey through my work: I think of the difference between \u201cto Mario Brunello\u201d\u00a0and \u201cSufi Dancer\u201d, between \u201cButterfly\u201d shown at the Venice Biennale and the \u201cEmigrant\u201d tables.\u00a0I express evolutions or involutions like a reflection of the state of my being in an unconscious way\u00a0through the art that I have projected and made.\u00a0I observe my sculptures chronologically and I re-live the emotions felt while growing, I remember\u00a0the difficulty, the joy, the effort, the dips and peaks of energy at the embryonic stage, the laughter\u00a0... the curses.<\/em>\r\n\u00a0I think how lucky I am to live my work with passion, to physically interpret concepts or ideas that\u00a0are recognised and endorsed by people who take possession of my work to enhance their spirit or\u00a0simply to smile by recalling memories.<\/em>\r\n\r\nGiovanni Casellato<\/em>\r\n
The musicality of Giovanni Casellato<\/em><\/h3>\r\nEverybody understands something about art: the philologist, the theologian, the critic, the lawyer,\u00a0the shop assistant, the art historian and the neighbour.\u00a0We all are ready to talk about art, to discuss it, to evoke myths and legends, and in the end to\u00a0judge what art really means.\u00a0Over the years, often I have had the chance to witness various exchanges of views, and to listen to\u00a0many disagreements, but in the end, one reaches and one reaches still only one conclusion: art is\u00a0something which goes beyond one\u2019s personal judgment, it is something that exalts the soul of the\u00a0one who is able to listen to the harmony of it. Because music is art and art could not be without its\u00a0visual expression.\u00a0It is this pleasant resonance that reaches the profound that I find in Giovanni Casellato\u2019s work, he\u00a0is a very refined artist \u2013 designer who is able to sacrifice the concept of utility for an art of\u00a0imaginative life, with its own autonomy from the real, entrusted not to reason but to instinct. His\u00a0works present perfect smooth surfaces called plates alternating each other with squared levels\u00a0which seal the shape, sinuous curves that modulate as in \u201cMarinella\u2019s Song\u201d, moulding constantly\u00a0in different and new ways, like an inexhaustible chain of creation. There is a rhythmic succession\u00a0of volumes, open and closed, spread and knotted \u201cbonds\u201d always summing up in perfect linearity\u00a0and in mirroring back, of large and expanded breath.\u00a0At the same time, Casellato constantly recalls the relationship between the plasticity and the\u00a0architecture, he conceives in his work the same interpretation for indoor and outdoor spaces. This\u00a0leap into the immutable dimension of time and space boosts the artist towards the recognition of\u00a0the sculpture-design with the great traditions of statuary.\u00a0A concrete example is found in the large left hand on the cello \u201cto Mario Brunello\u201d, an almost\u00a0totemic figure re-thought and re-launched in the dimension of a triumphant monumentality. We\u00a0find the same aspect in a previous work \u201cWool Ball\u201d which is tied to Arianna\u2019s Thread which seems\u00a0to lead to a freedom of thought that becomes thinner and thinner, accompanied by a muffled\u00a0sound. Or even \u201cTriptychs\u201d, works of art with a great essence of form, which rise to the infinite and\u00a0are capable of transmitting the illusion of a three-dimensional form on a two-dimensional surface.\u00a0Also \u201cFrancesca\u2019s Airplanes\u201d as \u201cFilippo\u2019s Kites\u201d and \u201cLaila\u2019s Little Boats\u201d seem to go beyond\u00a0imagination and whispering with their movement, in the air, in the water, or in nothing, lovely music\u00a0which is moving away to be imagined, beyond the same boundary of a hypothetical horizon in the\u00a0unconscious of each spectator.\u00a0Now is the time to focus on \u201cSufi Dancer\u201d which appears to be the synthesis of all Casellato\u2019s work.\u00a0The perfect shape is expressed in the colour of purity, the absolute white, and in the thin, three\u00a0dimensionality deliberately not expressed. The tiny but perfect harmony of proportion and\u00a0movement and the rotating dance accompanied by a sweet melody of a ney, with its own sound,\u00a0sensitive and delicate, represent the divine breath from which all creatures take life. The result of\u00a0this sensory mix is a sculpture which evokes powerful emotions.<\/em>\r\n\r\nMarika Lion<\/em>\r\n Art Advisory<\/em>","_et_gb_content_width":"","iawp_total_views":47,"footnotes":""},"class_list":["post-1073","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/www.giovannicasellato.it\/en\/wp-json\/wp\/v2\/pages\/1073","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.giovannicasellato.it\/en\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.giovannicasellato.it\/en\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.giovannicasellato.it\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.giovannicasellato.it\/en\/wp-json\/wp\/v2\/comments?post=1073"}],"version-history":[{"count":7,"href":"https:\/\/www.giovannicasellato.it\/en\/wp-json\/wp\/v2\/pages\/1073\/revisions"}],"predecessor-version":[{"id":2482,"href":"https:\/\/www.giovannicasellato.it\/en\/wp-json\/wp\/v2\/pages\/1073\/revisions\/2482"}],"wp:attachment":[{"href":"https:\/\/www.giovannicasellato.it\/en\/wp-json\/wp\/v2\/media?parent=1073"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}