Page 70 - The Documenta issue of World of Art magazine (2002)

Livio Seguso

Enzo De Martino was quite
right in identifying to what
extent Seguso’s imaginative
universe was based on the
mechanisms of pmcess.
Indeed, the gaze seems to
embark on an endless flight
through space that seems to
change into a play of allusions
and symbolic references. The
artist, fully in command of his
technical, organic and spiritual
skills over matter, intervenes
m luminous density with
simple elegance. And matter,
in the end, transmutes the
strict connections between
itself, form and function as
if they were being ideally
violated.

Seguso’s are sculptures
that appear to encapsulate
the secrets of everything:
they speak to us about a
concentrated, demanding art;
they lead us to contemplation
and meditation, to a gaze
within things themselves - and
this in order to make us then
breach the limits of things.

Like inviolable treasure
troves, these works that are
now honoring the rooms of
the BuschlenMowatt galleries,
and seem to contain within
themselves the four elements;
they subsequently become
an integral part of the nature
and cause of the world. Hence
glass as air, water, fire, stone
and metal; and, again, as
earth and fire. And fire, as is
now, as always has been. Fire
as light, creative imagination.
Fire: living thought from which
ideas, feelings, concepts and
emotions take their origins,
feed one another, substantiate
each other and structure
themselves in order to
assume distinct forms.

Andrea Pagnes

NY-Paris-Venice, 2002
68 WORLD of ART