Artists

Alberto Cavalieri

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 Alberto Cavalieri was born in Caracas, Venezuela in 1969. As an artist he has developed a body of work marked fundamentally by his interest in the behavior of materials as an expressive possibility of sculpture and in how its forms, in dialogue with the space that surrounds them, allows the questioning of what we observe: the weight and stiffness of metals as opposed to lightness, sinuosity and the balance of support points, apparently impossible, synthesized in their works.

The pieces exhibited in stainless steel realize these constant interests, revealing at least two lines of research with various formal solutions.

First, we find the pieces of the Pipelines series, which visually retake the characteristics of their previous works - iron knotting - in which through the technical domain, the material bends to allow torsions of the metal and whose movements seek to imitate the response of the bodies to the action of wind or gravity.

Beyond this discursive continuity, the artist addresses the relationship between the work and the space from a playful approach, as it is proposed, on the one hand, the geometrized synthesis that recovers the aesthetics of ductwork systems to play with the possibility of forms that seem to run off the walls or hang from the ceiling, curving into an apparent precarious - but actually calculated - balance

This calculated balance, achieved through the application of technology, as Cavalieri develops and projects through design programs the behavior of his works - determining the support points by understanding the center of gravity of his pieces - does not neglect the manual aspect of the work and care of the material, because once the designed pieces take shape, they are assembled manually by the artist himself.

In the second place, the Stocks series is presented to us, its most recent investigation, in which the material also stands as the fundamental engine of the proposal, but starting, not only from the questioning of the perception of its physical properties, but through the idea of ??matter transformed from its original form to be preserved and exchanged as a marketable good in the form of the ingot.

Two of the possible readings that emerge from its use as a unit in Cavalieri's work are, on the one hand and from the point of view of the sculptural fact, that of its compression as a minimum constructive element that allows the organization of a structure greater than it can contain it in various forms, changing, flexible as the variations and alternations of the pieces are, and that in the case of the installations present in the exhibition, have taken the form of towers through stacking.

The selection of duralumin and carob wood as materials converted into bars, ingots, in these two structures, is part of a complex investigation of Cavalieri, who is interested in the behavior of the matter - not only that traditionally understood as sculptural , such as wood or metals - advances the manipulation of materials such as oil or food, which are stripped of their "must be" to also be them, work.

 Alberto Cavalieri was born in Caracas, Venezuela in 1969. As an artist he has developed a body of work marked fundamentally by his interest in the behavior of materials as an expressive possibility of sculpture and in how its forms, in dialogue with the space that surrounds them, allows the questioning of what we observe: the weight and stiffness of metals as opposed to lightness, sinuosity and the balance of support points, apparently impossible, synthesized in their works.

The pieces exhibited in stainless steel realize these constant interests, revealing at least two lines of research with various formal solutions.

First, we find the pieces of the Pipelines series, which visually retake the characteristics of their previous works - iron knotting - in which through the technical domain, the material bends to allow torsions of the metal and whose movements seek to imitate the response of the bodies to the action of wind or gravity.

Beyond this discursive continuity, the artist addresses the relationship between the work and the space from a playful approach, as it is proposed, on the one hand, the geometrized synthesis that recovers the aesthetics of ductwork systems to play with the possibility of forms that seem to run off the walls or hang from the ceiling, curving into an apparent precarious - but actually calculated - balance

This calculated balance, achieved through the application of technology, as Cavalieri develops and projects through design programs the behavior of his works - determining the support points by understanding the center of gravity of his pieces - does not neglect the manual aspect of the work and care of the material, because once the designed pieces take shape, they are assembled manually by the artist himself.

In the second place, the Stocks series is presented to us, its most recent investigation, in which the material also stands as the fundamental engine of the proposal, but starting, not only from the questioning of the perception of its physical properties, but through the idea of ??matter transformed from its original form to be preserved and exchanged as a marketable good in the form of the ingot.

Two of the possible readings that emerge from its use as a unit in Cavalieri's work are, on the one hand and from the point of view of the sculptural fact, that of its compression as a minimum constructive element that allows the organization of a structure greater than it can contain it in various forms, changing, flexible as the variations and alternations of the pieces are, and that in the case of the installations present in the exhibition, have taken the form of towers through stacking.

The selection of duralumin and carob wood as materials converted into bars, ingots, in these two structures, is part of a complex investigation of Cavalieri, who is interested in the behavior of the matter - not only that traditionally understood as sculptural , such as wood or metals - advances the manipulation of materials such as oil or food, which are stripped of their "must be" to also be them, work.

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