A sculpture (conventional definition that here appears as impertinent) aimed at identifying the other aspect of iconologies, shapes and patterns that are apparently known and recognizable: that is what is revealed in the works and installations by Davide Vivaldi.
A sculpture which is dialectic towards tradition yet secretly dialogues with it, evocative, nostalgic and ironic at the same time; a decentralized, anti-monumental, precarious sculpture, conceptually non-finished, opposed to the anthropocentric conception of ancient memory and dedicated to the laterality of a personal thought which revisits the subjects as being things among things, as a residual humanity that is difficult to identify (the title Borderline is frequently used), in a context of non-defined hierarchies.
Where even the noble and canonical materials of sculpture – we could say for a semantic consistency between substance and form - resign their role to others: poor and primary materials (chalk, clay and concrete), or recycled wrecks. They are raw materials of a different arché, claiming its space, with the unbearable insistence of the stuttering of a child (sometimes angry, and disturbing as the new baby), or with the silent eloquence of a fragment, of a recomposed detritus, of re-ennobled slag, which impose their persistent presence. Any work or installation thus opens a confusing and intransitive story that remains so, unless you dare to share it.

Text by Adriano Baccilieri

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