Kristian Sturi – Gorizia, 1983 – creates his works using different materials and styles, which share the apparent lack of overall coherence. Sturi moves with agility from creating three-dimensional objects, made of enameled ceramic and characterised by tribal and erotic shapes, to purely visual works, made of silkscreens, smoke bombs, and color films, that put the accent on the limits of two-dimensional surfaces. Sometimes, Sturi lingers on the threshold between the two dimensions, by creating sculpted elements that simultaneously support the structure and are part of the sculpture, or by manipulating everyday objects that are put on display as paintings. Unexpected changes of register and recurring elements result in a ludic system of signs and symbols that intrigues the spectator and invites him/her to examine the mysterious, difficult, and ironic thought of Kristian Sturi, whose ideas are crystallized in organic shaped totems, alchemical smokes, gold, and lacquers.

In the mood version #73

My project took shape with the visit to Antiche Carceri (San Vito’s ancient jails). I immediately thought that prisoners’ drawings, carved on the walls during their imprisonment, were the most suitable subjects for my work, since they reminded me of both prehistoric cave painting and the writings of contemporary graffiti-artists. The image of a ship particularly captured my attention, since I had previously run into this theme in other jail cells in Italy and in Europe. Why a ship? Many prisoners probably were galley slaves, while others were led by an unexpected creativity to sketch a representation of break out and freedom in the shape of a ship. The night is often the only measure prisoners have to realize the duration of their punishment. Since I wondered why should a work of art be enjoyed only in daylight, my sculpture presents a uniform surface during the day: nothing appears on top of it, despite the movement provided by the wind. Conversely, when darkness falls, the profile of a bright ship can be perceived: the vessel lacks a crew, but is ready to cut through the water of the moat and is waiting for the night to go by.

I decided to use ceramic coated with fluorescent varnish. With this sculpture I would like to represent the passing of time, the dialogue between day and night, and the feeling of waiting. The wait for the prisoner to go out. The wait as a moment of settling, of reflection, and meditation.

Kristian Sturi