ArtDynasty Geneva
welcomes June,21 until September,22


The feeling of nature /Paolo Cavallo /9 until 19, September/


The feeling of nature /Paolo Cavallo /9 until 19, September/

                                Gallery Forte del Marmi 

Paolo Cavallo born in La Spezia in 1944 lives and works between Ortonovo, Carrara and Pietrasanta. Sculptor, painter, graphic artist and ceramist, he has always preached the direct relationship with the clients of his works often dedicated to sacred themes.

Present in numerous private collections, both in Italy and abroad, he has made numerous public monuments including Monumento a San Francesco d'Assisi (graveyard of the Sanctuary of Gratitude), the ceramic Via Crucis at the Chiesa della Perticata (Carrara, MS ), the marble altar in the Church of Mercy of Massa.

Among his exhibitions, that of the 1993 Palazzo Ducale in Massa in the collective "Om mani padme um", graphics and oils, the personal exhibition of 1996 at Palazzo Ducale and the one of 1999 at Palazzo Castelli di Carrara.

Cavallo’s roots are first of all firmly planted in his being the son - as Dante said - of “ Mount and Rock”, of the harsh Apuan land, which is not used to expressing too many feelings or gestures, but which is extremely rich in deep feelings, anarchic generosity, magnificent stone, colors and flavors which penetrate deep into de soul. A land which has also inspired Cavallo his original and intelligent faithfulness tto the ornamental techniques derived from Art Nouveau (also influenced by the similar “Jugendstyl” and French “Art Nouveau”), which, here, between the mouth of river Magra and the mouth of river Serchio, lived such a fortunate period at the good old times when this land - between high mountains and a still untouched sea - had already inspired Dante (the splendid desolation of Luni…) and knew how to suggest notes to Puccini or verses to D’Annunzio.

Deep roots. The hard and precious stone loved by Michelangelo, the Christian faith in the same qualities of marble as quarrymen and mountain dwellers cherish in their harts together with the flashing dream of a freer and stronger life, the dream of anarchy.

The anarchy, indeed, of those who know and want to give a measure to themselves and their existence: not the disorderly liberty of the selfish individualist, the one who aims at keeping going somehow and at pleasing himself. Hence the relentless research underlying Cavallo’s art.

A research which is, above all, technical. Looking for and testing colors and supports; handling gouges, chisels and burins; gold-plating, silver-plating, melting, cooling. Solve et coagula. We often mentioned Leonardo and Michelangelo as his inspirers: I would perhaps add Cellini or may be Bosch and the great Baroque masters for some “hybrid” forms (fish in the sky, forms mixing up the human, the vegetal, the mineral and the feral).

And, beside technique, Myth. And its undoubtedly universal language, running from Homeric and Dorian (more than “classical-Greek”) themes to yoga, zen and the Catholicism which is not so much “medieval” in its forms - I cannot find any Romanesque or Gothic inspiration in the aesthetic background of his poetics - as in its being inspired by totality and integrality. A “medievalism” which expresses itself, first of all and above all, in a ceaseless aspiration to the Sacred and to the Divine.

There is more than that. Much more. The deep topically of his themes, for instance, which nevertheless translate into an almost contemptuous dial with Topicality. Cavallo is indeed brave enough to consider himself as artistically behind times. He states that out loud, when recalling, somehow, his twentieth-century masters: Dalì, De Chirico, Jünger, Mishima, rejecting any form of neo-abstractionism and paying tribute, instead, to Magic and Heroic Realism. Cavallo is a “Metaphysical Figurative” artist, one who does not play strange tricks with the language of symbols, does not cheats at the metaphor game.

Let's reflect, then, on his favourede archetypes, the horse (for him, a “tutelary deity “: an eponym, a totem; nomen amen) and the shell. The former reacalls the mystery of deep waters and divine ascents, is a fellow-traveler to heaven and hell, the son of underground waters who aims at being uplifted. The latter is the labyrinthine mystery of the relationship between being and becoming, the eternity of the Eternal Return to the Equal, frozen in the hard, translucent and marine matter; Zeus’s divine sperm turned into the sperm of the sea - once again, the wild Tyrrhenian Sea as seen from the Apuan Alps … - and ready to give birth to Aphrodite, to Beauty.