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CESARE CRUGNI
Presented by Pius Piazolo
To what degree is Cesare Crugni important?
The answer comes rapidly. It states that he does not aspire to disintegrate the world.
For him it holds a great significance to arrive at a knowledge of that which holds it together. Such a discussion on the cohesive forces is surely very important!
Precisely this nucleus is the quality of all the work of CESARE CRUGNI.
Innate simplicity sustains the sculptor in actuating in a valid form his creative forces.
The qualitative originality of this idiom allows the foreseeing of how the philosophic aptitude of the artist determines the stamp of the work.
If therefore, right at the beginning, there is the principle “PARS PRO TOTO” you can penetrate more easily into the tracks of this creative reality.
In the PARS PRO TOTO the part stands for the whole, it contains the whole.
As an example we take a drop of water. You could deduce that the drop of water can certainly know that it is in the sea. To understands that on the contrary the sea is also in the drop of water becomes indeed more difficult.
So explains also CESARE CRUGNI: Mankind can certainly know that he finds himself in the universe. But only by a small degree does he also realize that the universe is also in him”. CESARE CRUGNI knows that very well and his response :
“Practically I am the universe” - convinces.
Translated into reality these words are meanwhile for him a block
of white and ever-so-noble marble of Carrara.
At this point you need to re-begin from afar. It can be said that the sculptor CESARE CRUGNI has the great gift to grasp the aggregation of the said materiality.
This talent full of grace permits the sculptor to sculpt, you may well note, the interiority of this material and not its exterior form. He then here engraves to awaken the unity of micro and macrocosm.
We are standing before the work of genius!
In the first place the artist ascertains that also in the cosmos the atoms vibrate. The artist has therefore a track that he wants to set.
For him this is about converting into visibility, in a model of a corresponding dance choreography, this principle of vibration.
But precisely this does not work at all. He must therefore turn to a stratagem.
If you want to now explain from more close-up this intent you need to make a verification.
The artist begins to penetrate into the marble like the pholades that penetrate stone.
But such a thing is not a all simple seeing that he wants to render visible the dancing being. The intention is without a doubt obtained because you must find an access to an opening that the artist must however first perceive.
It is therefore necessary a response to the mysteries of the state of aggregation.
It is therefore not about the perforation of the material. Exactly the opposite is necessary to give form to the lines of oscillation. So creates the artist in the more interior part of the block of marble an empty space - possibly comparable to a grotto of stalactites. But it is now that the artist enters fully in action. He uses these traces of the lines of oscillation to congeal.
In a nutshell this signifies a modelling of the structural reinforcement, ramifications and cross points.
From the oscillatory model the artist draws a trelliswork so as to raise a structure that also the architects of the cathedrals of some time ago deemed important to research.
Naturally in many other dimensions.
The steady-working sculptor, under determined premises, then rends
it possible to collect the playful movements of the oscillatory structures of the atom.
But that which can be seen only after is that which CESARE CRUGNI presents.
CESARE CRUGNI utilizes the movement of natural light. In this he succeeds because the working of the marble takes place indifferent widths.
The ordering harmonic principle therefore obtains a transparency manifold so that spectral effects similar to that of a kaleidoscope arise.
The model of the dance choreography reveals a merry-go-round of graceful movements then emerges a ballet that tells of the course of the worlds.
At this point CESARE CRUGNI has achieved his goal.
The choreography captured in its vital movement, is the intelligent, unanimous harmony with Mother Nature.
The coming to pass with which profound emotion can assist here is the visibility of the motor course of a part of the structure of the world.
The rendering visible of this principle of manifestation is made possible only by way of the artist in a white block of marble being carved, exposed to structural reinforcement, a figure in emptiness.
This figure/model that permits a recognition not only of an ordering principle manifold but also liberates for a time a game of light is a manifest of the heavenly clockwork.
Originating symbols of the vital structure of the world the sculptor
CESARE CRUGNI is able to create them - precisely why he is a genius.
Who would have ever considered possible such a link?
Every one of the points of concentration of the model is its center in this dance
full of mystery, which moves in its own turn around its mysterious center.
Thanks to the creation of CESARE CRUGNI you can experiment directly on the elementary, fundamentals models around the which rotates reality.
From the atomic, cross the worlds of molecules and cells, we arrive at mankind and, beyond mankind, until the Earth and the Universe.
Therefore to what degree is CESARE CRUGNI important? Incontestably very important!
All that we find outside of ourselves in the world is also in us and vice versa.
But we should endeavour to command the immense bond that conserves the integrity of all.
This enlightening intelligence irradiates CESARE CRUGNI.
“...practically I am the Universe!”.
In Conclusion:
The artists’ engagement justifies!
Notoriously however the actual structure of these services utilizes almost exclusively the typing of the data transfer. And so it is!
You have to be aware of that!
This signifies, to state it clearly and plainly :
“ Disintegration is daily life” .
Still
mankind
and the world
are one
if mankind
is on the road
towards mankind.
This is the message.
Cervo, June 2001
Pius Piazolo
Translated from the original German text
by
Ugo Piacentini, Humboldt-University, Berlin.
English translation by Eric Lee Lancaster, Vanduser, Missouri
