Gianfranco Meggiato

The deep nature of sculpture

As in old times, sculpture must recover its own deepest nature, […] implying the suffering, the constant and never subdued research of the artist, who is finally able to concretize the mental image of his work just by slowly taking possession of execution techniques (almost as though it was an initiatory process) […]. The ultimate challenge is the use of old materials and techniques, such as bronze investment casting, to point out new ways and new emotions through abstract shapes. (Gianfranco Meggiato, My Sculpture)

[…] Therefore, by taking into account the reflections of this artist on his work, first of all, one element has to be pointed out: the relationship between the internal and the external which Meggiato offers us. Here, it is not just the contrast between empty and full, or between concave and convex surfaces, lights and shadows. It is rather a psychological map to be followed.[…] By following his hands, from the surface, it is necessary to penetrate the inner cavities, looking for a central nucleus, scouring the microcosm of a planetary system, and of a contracting orbital movement.[…] But these introscupltures by Meggiato leave no room to indefiniteness; and if their way to talk about man looking for himself is questioning and dramatic, they nevertheless know how to occupy and contain space in an authoritative, significant and complete way.