Alberto Scodro’s works are skeins of energy and are conceived as extensions or subtractions of the surrounding space. By favouring a site-specific approach, the artist resorts to sculpture and installation in order to make visible the powers and strengths, either architectural or natural, that cross spaces. Scodro has always been interested in the use of natural materials and recently his research has been characterised by a more rigorous and scientific approach: as a matter of fact, in his study the artist experiments with assembling waste materials with natural and artificial minerals in order to examine the processes of casting and aggregation of materials. He is fascinated by the transformations that lead certain substances to endure and others to evaporate, thus becoming a part of the atmosphere. For the artist, the final work is what is naturally opposed to this incessant transformation process.
The selection of the new showcased works introduces the observer to an alchemical and magical research that is capable of leading him/her far away in time and space.
Alberto Scodro (b. Marostica, 1984) completed his studies in Restoration and Visual Arts at the IUAV in Venice and he now lives and works between Nove (Vicenza) and Brussels.
Untitled glasssand - San Vito al Tagliamento, 2018-19
Time compression and the transformation of matter are the themes behind this sculpture. It is created through a process of overlapping castings, at different temperatures and times, of various materials of mineral origin, partially found in the local area of San Vito al Tagliamento. I imagine this work, which is composed of different layers, as an archive of materials, periods and landscapes dedicated to this town.
For the study of the form, I took inspiration from the two elements present on the facade of the Church of Santa Maria dei Battuti: the rose window and the arch. The rose window, which is sloped into the sculpture from its vertical to its horizontal axis, brings the light onto the plastic material. The arch, intersecting with other arches, links the sculpture with the land and suggests an idea of circularity that belongs to both the cyclical process of the work’s creation and of the minerals it contains, and to the more immediate suggestion inspired by the town as captured during my inspection.
The sculpture belongs to the series of works Untitled glasssand that I have been working on since 2014 and with which I examine the theme of the invisible through the processes of the transformation of matter.