The work of Francesco Visentini is part of the context of the young Italian figurative research, analyzing with absolute consistency and continuity of research the connections between art, society, politics and religion.
Abacuc, in this context, is a monumental sculpture made by Visentini who paid great attention to the dialogue between the material, the clay and the form which confers dramatic pride to the figure of the prophet.
The dialogue with the Renaissance – the model is the famous Abacuc of Donatello – represents to Visentini the perfect place for a confrontation which turns into a verification of the strength of the messages even today, though expressed five centuries ago. Visentini’s Abacuc, so, is not so much a work that wants to be a lament on lost times, but a stimulus to the recovery and reactivation of a proud moment in Italian art history and a valid ground for comparison for a young artist who “forgets by heart” the great masters who worked between the fifteenth and the twentieth century.
For its grandeur and its vigorous plasticity, the work could find a place within the Sacred contemporary art but also within those institutions inclined to dialogue between contemporary research and historicized languages.