The artist draws from figurative art and informalism
According to Elvino Motti, perfection is unattainable, not because one should not pursue it, but because believing to be able to grasp it is actually a chimera. It is in this conviction that his measured, traditional, slow and sometimes obstinate behavior is rooted – an attitude that reveals sincere desire rather than uncertain yearning. At the heart of his artistic idiom there is a synthesis of elements from figurative art and Informalism, as well as an archetypical syntax that is based on an historical analysis of forms that is aimed to reach that balanced model of linear purity Dominique Stella calls “the spark of life”. Undoubtedly archaic in style, Motti’s sculpture strengthens through the recovery of an essential definition of the masses and is characterized by a well-defined, hieratic presence such as the one in Manzù’s work. After all, Elvino was a student of Vangi, Messina, Marchese and Basaldella, who were some of the most influential sculptors of the second half of the XX century. As such, to a merely emulative attitude, Motti prefers to trust the real nature of materials and their energy, upon which he relies in the context of his close dialogue with the “creation”.
His archaic inspiration strengthens through the essential definition of the masses
This is what stands at the heart of the exhibition that is now taking place in the prestigious rooms of Villa Vigoni, on the hills that overlook Menaggio and Lake Como. On display there is a selection of sculptures that focus on the anthropological knowledge of subjects and on the tactile knowledge of materials. Motti’s choice of materials – quartz, granite, bronze, wood, and methacrylate – adjusts to individual accessibility, which is the first prerogative of a dialogue between work and observer. In this regard, Dominique Stella also writes that “(…) Elvino Motti’s work enters the long rhythm of history standing on the margin of each movement, in the mastery and fineness of gestures, in the fullness of form and in the grandeur of volumes. Well beyond ideas of progress and development – two values that have now become quite controversial – and in opposition to dominating trends, the artist perpetuates the precise gestures that were performed by the stone cutters who built the Roman arcades and by those sculptors who, from the Middle Ages to the XX century, skillfully gave life to raw matter and succeeded in passing down their eternal knowledge.”
Arte in Villa
Loveno di Menaggio (CO)
22/10 – 30/11