Polychrome wooden sculpture.
Measurements: cm 48 X 27.5 X 22.5
Giuseppe Rivadossi (Nave, July 8, 1935)
Having inherited an interest in art from his father Clemente, Rivadossi officially began his artistic career in the 1960s, approaching the study of wood sculpture, terracotta, and bronze working, and being interested from the beginning in domestic space, which would later become one of the key themes of his work.
In the 1970s, thanks to the attention of friends such as Francesca Amadio and important gallery owners such as Renato Cardazzo, Elio Palmisano, and Alfredo Paglione, his exhibition season as a sculptor began, which saw him exhibit at various national and international artistic events such as the Milan Triennale (1974), the Menton Biennale (1976), the Rotonda della Besana (1980), the Palazzo del Ridotto in Cesena (1996), and the Galleria d'arte moderna Palazzo Forti in Verona (2005).
Among others, Giovanni Testori, Vittorio Sgarbi, Roberto Tassi, Gianfranco Bruno, Marco Vallora, Ermanno Olmi, Giorgio Cortenova, Piercarlo Santini, and Mario Botta have written about Giuseppe Rivadossi's work and poetics.
Giuseppe Rivadossi says:
I have seen wood worked since I was a child.
I have seen forests grow and trees of all sizes and qualities cut down.
I have seen my father transform these woods into marvelous barrels and beautiful carts for the nearby farmers.
Until twenty to twenty-five years ago, where I now live, the relationship between man and man, man and nature, was still based on an ancient ethic.
Then industry arrived and with it began the looting.
The hope of a less harsh life soon turned into a bitter realization.
The new technology, which was only supposed to be a more refined instrument, turned out to be an instrument of frustration and general disintegration.
Now, in this situation, I feel more and more deeply the need to express that sense of fundamental unity of existence, as a basic idea not to be lost or to be rediscovered at all costs every day and in everything.
I consider the environment in its totality of nature and human intervention, the work of art unique to which everything belongs and in which we all are.
I believe that (Art) is all the work of man and, speaking of my work (which I consider for what it is, only a very small part of that unique work in which we all, for better or worse, operate and live), I will tell you that I too, like my father, started by building furniture and various things in wood for my people.
As I went on, I realized that these things had to be built according to deep and precise needs.
I found myself working on containers (furniture) and sculptures with an appearance increasingly in contrast with the environment that was degenerating, transforming, and impoverishing itself, and I realized that these things of mine were taking on greater and greater meaning, both for the way they were built and for the material used (wood). So I partly gave up the function of containing for a different function.
So I arrived at these last images in which the idea of a different living, of a living inside (inside life, inside the things of life) is figured through structures that I realize starting from precise planning and recovering as a primary language all the common technique of carpentry.
Now these images, these sculptures, and these pieces of furniture are born from the depths of my experience as a song, of that hope and that only alternative that stands before us more than of nostalgia for the past.
Giuseppe Rivadossi
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