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CESARE CRUGNI: SCULPTOR OF MISTERY
by Antonino De Bono
According to today outline, Cesare Crugni is, in my opinion, a “case” of surprising originality among vanguard artists. I would say a “Michelangelo of interior sculpture”. Technical magics and semantic epiphanies develop in his work like a “ritual of mystery”.
A symbolic sculpture, (as I said in 1984 in one of my texts), “it went to the limit of technical impossibility” because of the “monstrous virtuosity of his métier”: Crugni , master and magicien, goes on supported by his humanity and his dreams, by inner unconscious and by his inner personality.
I then asserted about his structural and expressive research: “his own technique is a “labyrinth-sculpture” (Borges would understand it) crowed by symbols, which comes from the outside and follows its own internal and innovating point of view, “an upside down research”: therefore a new one, completely different from the traditional one”. Structures which coagulate into “light labyrinth” (white Carrara marble takes on a fundamental importance in this case), suddenly metamorphoses: faces, hands, figures, geometrical abstraction, musical emptiness.
A vital, poetic, iconological world, which throbs with visual and rhythmical values, between shadows and lights, with life and cosmic symbols. From the human to the ineluctable mysteries of the Universe and of God, of love and sex, of life and death. Crugni’s hands “see like eyes” into the heart of matter. “So it stands to reason (as I said in that text) that Crugni’s challenge is not to sculpture, but to himself. Where will his magic take him?”.
L’Uomo nell’Interspazio (1980), Labirinto (1982), Cosmoenergia (1984), Cosmoessenza (1987), Sintesi (1990), Extraterrestre (1999), La Creazione (2001), Immanenza (2002), Ali della Mente (2002): are all works in which is creativity reaches visionary dimensions. In fact they are all works of this “Sculpture of Mistery”.
Milan, May 2003
Pedro Fiori
English translation by Tiziana Ciarlo
