Page 46 - Studio International - July 1965

Photo: Jean Dubont

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logical design and brings it closer to the broader
reality of plastic phenomena. The lacerations are
reabsorbed and subsumed in the curving interlinear
surfaces. where there is an intense play of light and
shade.
In this case. it may well be wrong to look for symbolic
significance. but one thing is certain-these things
express the sculptor's own essence and vision of
truth.
'The Universal Crime· is a theme which reflects. in its
expression and structure. a precise relationship between
sculpture and time. In the sculpture of Pierluca there is
one constant: we always have the concrete and yet
1 paradoxically unfathomable expression of his personal­
Le Crime Collecuf
Sculpture No. 1126. DK. ity-both artistic and human.
Black steel The ineluctable rapport established between the
200 x 1 00 x 1 00 cm.
individual artist's work and all the other creative activity
2 in which he indulges. is also a reflection of the whole
Lacerazione FV 64 1963
Black steel paradoxical state of man in our times. Each new
90 x 75 cm. creative step is also a reflection of a precise state of
Galleria d'Arte Moderna. Ancona
mind in our civilisation; thus the works take on the
3 character of collective symbols.
Le Crime Collectif 1965
Sculpture No. 1125 H.I. The present achievements in sculpture of Pierluca are
Brown steel probably true registrations of a human epoch; they are
175 x 115 x 105 cm.
echoes of man's aspiration to a fate different from that
4 meted out to him; thus they are redolent of essentially
Grande Lacerazione 1963 Photo: Jean Dubont
Aluminium human values. The artist has here evolved a new
language of form that has all the functions of the most
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Detail of 4 eloquent lyric poetry, and which is yet a purposeful
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