THE ART OF CIRO
Ciro’s art is an innocent one. It correspond a daly reality that is both poetic yet astonishing. It deal whit an articulation of idea that express sensitive states of creativity through different combination of wooden fragments: humble yet essential elements, delicately colored by time, naturally or through participating intervention provoked by functional need. Perspective structures from the optical effect of interlaced fiber torsion, of houses, castles, landcapes,animals, various objects; everything flowing from perceptive stimuli averse to rhetoric, that favors its own unique communication according to a language whit precious and edifying taste. Works without lateral perimeters, picture frames without paint, forms antiforms whose meanings allude to the searched beauty, to the contemplation of the objet rather than the recovery of itself for its positioning in a new context whit the aim of creating new relations. Ciro, whit an “non-style”, backs out himself of the obligation to narrate something, he does not refer to codified schemes; he operates processes of transformation without representative description, nor the elaboration of an aesthetic learning; he, rather, actualises an invention that transforms, a subjective action of the inventive faculty as an affirmation of a new physiology, like an animation of his those remnants of objects, that attempt to live again by playing a new role, express the highest form of sensibilities that accompany the journey of this author; they are the sign of a “wealth”, challenge and denial of the wordly material good, ethical approach that exalt the sense of life and the events that compose it.
The implicit symbolism in the formulation of manifold experiments – poverty, humilty, space contemplation, life –are the mysterious signs of the fascinating source from which Ciro nourishes his own spirit.
Something the significance of a work of art remains mysteriously imperceptible, it does not reveal the message, but rather the great need of modern man to determine his own level of existence in the incessant existential race, induces him to enyoy and to assimilate this art that, for all its spiritual and temporal contents, is in reality profoundly rooted in history.
Gabriella Bairo Puccinetti
