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About me

"The artistic experience of Marcello Giovannone appears marked by an in-depth formal search, by a commitment that has assumed a precise expressive dimension over time, by a will to convey the sense of evolution of a humanity that is uneasy and expecting new
events and experiences. A humanity that emerges from the towers, the spheres and pyramid's fissures, in a kind of recovery of an essential, symbolic, mysterious and mythical figuration. In any case, Giovannone never loses sight of compositional rhythm and harmony,
the valiant measure of a dictation characterised by the use of materials such as bronze, resin in the variations of red and black, and patinated plaster. The materials become a means to ‘fix' a gesture, a sentiment and an emotion. A sculpture, therefore, that goes beyond the figurative search and the image resolution to ‘construct' a new world from vigorous  geometries, with a swarm of men and women who attempt to expose themselves
to denounce society's myths, the waiting and the anguish of existence. The strength of the mark outlines and defines the shapes in the space and in the space the tension of the representation projected towards new horizons can be perceived."

by Angelo Mistrangelo

The origins of Giovannone's sculpture have an antagonistic connection: free plastic impulse and precise geometric pattern. The basis of the artwork is provided by sentiments of curiosity and fear, and in the completion of the technical process. Its acquired manual character has the power to transfer intimate reflections in the materials. During his  utodidatic training, Giovannone has returned many times with enrapture in front of the “Prigioni” by Michelangelo. He has let his glance fall between the folds of Medardo Rosso's vibrant plasticity and at the same time, has safeguarded the memory of Arnaldo Pomodoro's polite shapes. After an clearly figurative first experience, his sculpture has taken on symbolic intentions. In a counterpoint of well thought out equilibrium in the artwork, the sphere, the pyramid and the cube are now introduced. The stillness of these solids generates fissures from which men and women emerge while attempting to reaffirm their own subjectivity. Bronzi, terracotta and plaster accommodate, with different choices of geometries, the overlapping of figures as entities born from a single substance. The intertwining and assertion of these bodies, whose formal style seemingly declares a daily
struggle to survive, generates an animated rhythm in the composition. A dismayed humanity descends on urban architecture or, with less emphasis, rests on naturalistic elements, within a feeling of living serener. From the silent embrace of the shapes one can conceive a desperate expression of overwhelming, a need to climb over oneself to reach ones goal in time. It is the anxiety for the end of the millennium that takes these faceless men beyond the year 2000's threshold.

Clizia Orlando