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Paolo Icaro Spiette

Size
dimensione ambiente
Description
Starting from the mid-1970s, Paolo Icaro began integrating sculpture with a reflection on its spatial features as well as its temporal and mental aspects. For Icaro, space is experienced with the body and sought in the becoming of time, in a dimension where project and chance, intimacy and irony merge into a continuous making and unmaking of form and thinking. After participating in the first Arte Povera exhibitions and the major Process Art events, from the 1970s the artist embraced an independent path that led him toward a personal exploration of the materials and limits of sculptural language, eventually leading to the complete deconstruction of the form. In 1981 Icaro returned to Italy after spending a long period of time in the USA. That was when his interest in the “classical making” of sculpture returned, and plaster became the material most congenial. In Spiette Icaro dotted space with small plaster forms set with fragments of reflecting glass. Positioned at different angles, the Spiette offer a fragmentary image of the surrounding space in which reflecting points weave a pattern of gazes. From the ceiling to the walls, the radiating energy is propagated to the floor, where several elements are disseminated, thus marking further paths in the material’s proliferation. For Icaro the fragment contains the vital force of future completion. Hence, continuity in the power of doing and cultural identity are the yearning for an ideal unity in which past and future coincide in the present, in the space that is “the forever of time.”
On View
No
Bibliography
L. Conte, Paolo Icaro. Spiette, 36, in “Senzamargine. Passages in Italian art at the turn of the millennium”, curated by B. Pietromarchi, exhibition catalogue, (Rome, MAXXI Museo nazionale delle arti del XXI secolo), Venice, Marsilio Editori, pp. 146-163
Photo Credits
Foto Agostino Osio - Alto Piano
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