The nature’s chant in the art of Giuseppe Rivadossi

Giuseppe Rivadossi expresses his feeling for life, conveying in his Craft the code of a universal language: in his world the naturalness identifies the radical quality of man, that defines his spiritual relationship with the existence. So, the Master “sculpts” his time, re-joining to the whole the individual thought and evoking the shape of a material that becomes environment, in acquiring each of its possible perceptive scenarios.

Vela Table. Italian walnut, 105 x 105 cm (2003)

Science and experience
“The poetry is a program I’m working on, through the memory of culture.”
Together with the Master, we find out how the sole human activity, which is accomplished through ingenuity and according to the rules dictated by experience, skill and study to create works of credible aesthetic value, is not sufficient in expressing the authentic definition of art; in fact, this is the category for a language that has always been combining the true knowledge with the unfathomable emotion, turned to send a strong lure to the humanity that reconciles itself  with the awareness of its nature and which interprets the ethical and visual values ​of its landscap.
A deep understanding of the essence of man.
Giuseppe Rivadossi thus loves the evolving material that becomes life, part of the individual and place of living par excellence. In the relationship between man and his existence the sculptor finds beauty, as it is universally found in the great architecture of bygone eras, designed in their relationship between space and the forces of nature and appreciated in the profound values ​​of their gears, still admired by the whole world.

Big arche. Walnut, 80 x 280 x 47 cm (2014)

Rivadossi believes that the use of the great technological evolution of the modern man needs a mature preparation and a careful knowledge – in equal measure taken on by those who perform the innovation and those who use it – in order to manage the language of the new techniques of making and the application of the many benefits of building. So, the purpose of progress is the edification through the fortune of these media, of a culture of life, of the house and the city, which helps to re-establish the substance and the meaning to his relationship with the existence: behind every automatism the protagonist man is the central proponent of the project, the architect of his purpose and of his own poetic expression.
Art is a chant
Culture is breath and freedom and it’s crucial for every development; is the tool to plan the future.
The Artist intimately endorses a concrete provocation in this field, deeming unsuitable the widespread pleasure towards the obviousness of expressive manners and of coded languages recurring in art, even if validated by the general contemporary acclaim; so, he feels the need to express an original message through the Craft of cabinetmaker which is connected to the exercise of Sculpture: the Master thus elaborates a deep research that marginalizes the idea of ​​art as “easy” collective thinking, rising it to the expression of a unique chant that animates the sense of love and that leads us to rediscover the pleasure of existence in a renewed harmonious relationship with humanit.
The centrality of the vacuous perceived subject, that is the fulcrum of the trivial modern sensibility, is opposed here by the search for the returned wonder of the feeling, which is fulfilled also starting with the direct relationship that may exist between individuals. In a scenario characterized by the involutions of postmodern thought, where freedom gives way to libertarianism, solicitude to mockery and fidelity to inconstancy and discretion, the greatness of Rivadossi’s works expresses in such case the rigour of its consistency and its own life through the nobleness of the materials.
The material, understood as the transformation of life, is indeed in perfect harmony with the original human feelings and is realized within a dreamlike doing that recognizes the existence isolating each form of closure and autism towards concreteness. So Rivadossi rediscovers, in this case, the general sense of a code that doesn’t design the “suburbs” of the imagination for a demure thought of existence, in which deep feelings give way to shallow emotions. But here the existence is the trace for the future, of which the man as “conscious animal “, with the advanced means at his disposal, has the moral duty to recover and re-interpret, through his own knowledge, the real gifts ,in his most intimate and incontrovertible spiritual values. In this perspective, also the beauty located in the “other” assumes a specific significance and becomes an objective factual confirmation.

Living Space

Project and product:
fascinating forms composed of the finest plastic and technical-functional mechanisms.
The Master cabinetmaker and sculptor confers to the “Craft” a superior value over the accessible production “after manner”, emphasizing how craftsmanship has been sliding over time in a limited field of stylistic imitations with no substance, subject to a serial market which has transformed the numerical production into a new form of culture, by taking advantage of the unconsciousness of a superficial public removed of any rigorous education as to the meaning of the forms and their languages.
The real evolution, of great scientific and technological progress at the same time, lies today instead in rediscovering the essential value of the structures and the forms that, even in urban furniture, take advantage, in a controlled manner, of the process of artifice.

Library Göttingen. Maple, 60 cm x h x d 225 28 (2006)

Therefore, Rivadossi infuses in his work the prevailing of consciousness in environmental edification, giving back to man the observation of forgotten nature, in the absorbed knowledge of his culture and in connection with his real needs, commensurate with the prevailing themes of contemporary development.
Art is poetry in any craft
Giuseppe Rivadossi brings to life a forgotten beauty. Inspired by the architecture of Brunelleschi and Leonardo’s machines, he offers a “smart” and aware use of the materials in the fulfilment of his works, that in the construction of furniture and furnishing objects integrate themselves in an authentic way in the dimensions of everyday life.
The exaltation of locks, of visible joints and the use of modern techniques more adapted to the new functionality, such as vertical-fibre woodworkings, allow in this way nature’s materials to live fully in the current context of existence.
“Art is not an invention, but it is the consciousness of human space defined as form, able to commemorate the beauty of living in relationship with nature’s harmony. ”

Agnellini – Gallery of Modern Art – Brescia
The rendezvous with Roberto Agnellini
By exhibiting Giuseppe Rivadossi’s work I’d like to revamp, in the contemporary sensibility during this historical moment, the basic message concerning the strengthened Italian heritage of art and intellect which has always expressed itself in the tradition of originality and geniality in the eyes of the world.
Therefore, at present I’m hosting an exhibition that is uncommon with regards to the traditional route regularly carried out by the Agnellini Gallery, motivating the instructive sense of this initiative in the “rediscovery” of the figure and the production of Giuseppe Rivadossi, according to the national and international records of the Artist and Master cabinetmaker.
In cabinetwork, sculpture and drawing, we indeed understand the effects of the most noticeable vivacity of his knowledge, that communicates an undeniable dimension of accessibility, immediacy and intelligence in the thread of the works, made original and significant in the material demonstrations of all the different and very noble expressive solutions.
Therefore “Genius lives here”, through this outstanding exponent, is also a tribute to the typical Italian inventive capacity, which occurs in the construction of artifacts and unique pieces, deriving from a medieval concept of the workshop, where the fervour urges for the creation of polyface initiatives of experimentation and research; our people – as  characterized, almost in their own genetic code, by these universally recognized and envied virtues – thereby distinguishes their own difference in the inventiveness, creativity and quality of every product made, supporting a civilization that can still build, in beauty, the sense of a possible and bright future.
So, “the man who invents” and who obtains from his own memory an articulated “palette” of forms and materials available to represent the aesthetics of modernity is being rediscovered: in this sense Giuseppe Rivadossi realizes his work, drawing on his own codes from history to make our reality entirely new and gushing.
“Genius lives here” reintroduces at the same time, as already stated, the inventive and projectual originality to a country that expresses itself in its incomparable lived existence through the arts’ World Heritage, using its new messages and the ancient traditions as global motors of development, research and originality, and giving back importance and credibility to the great role still played.
Agnellini Gallery of Modern Art, a place of cultural and educational diffusion, also includes, on this occasion, with exceptional surprise, the response and the attendance of an audience which gives to the exhibition itself significant feedbacks of visits and of absolute appreciation towards this unique and yet effective operation of cultural renewal in the articulate and dialectical field of contemporary arts.