“I chose to do a job almost of refusal, starting, however, from the ability to be able to paint or sculpt what I want and how I want it, choosing the most disparate techniques. I decided to throw some colors on the canvas and let them fall so disfigured as if I were rolling dice and then trying to organize them. The same thing with images. Thus, much of the creative process is part of the logic of overlapping and stratification. I find the picture by crossing the randomness of the dice above. But this is only in the initial phase. After the order I am finding, it becomes a diktat, it is he who does not make any more mistakes and traces a unique path: that of meaning; the sense I seek. All this leaves enormous space for the interpretation of the observer to whom the suggestion indicates the way while the conclusions must draw them by themselves ”
The scientific, economic, technological and cultural revolutions that in recent decades have affected the choice of human action, require a thorough and rigorous reflection on the ethical side (definition of the lawful and of the illicit in life choices); on the theoretical one (the relationship between man / man, man / nature, man / environment) and within those identity relationships that define the relationship of the individual with his own future, understood as aspiration and collective commitment, with his own vital processes , with its own birth, with death and with aesthetics (art). The reflection on these issues is made even more urgent by the disappearance, in the modern pluralist society, of those reference points and of those shared principles and values that oriented human action in times past. Translating “Kunst und alterthum” (ingenuity and humor) it can be said that art is a serious thing not for the object it treats (whether it is noble, sacred or vulgar), or for the purpose that the artist places himself : it is serious because of the way it treats the object and its particular “vision”, the only one that man has of reality that aspires to be defined together as the most “subjective” and the most “objective” “, therefore the most complete of visions. Every authentic work of art gives an answer to the question “What is life?” of an intuitive and immediate type that is perfectly right, even if each artist gives it in his own way. For this reason the main characteristic of the work of art is rather this: it offers an “objective” vision, that is, devoid of any foreign desire other than that of pure contemplation; it is therefore a ‘true’, naive and not vulgar representation. In this lies also its ethical content of art which, when combined with anthropological, sociological and economic research and studies, can indicate a social direction to pursue. The real revolutions in the course of human history have not been made by politicians and the masses in the squares, but by artists and men of genius in the closed of their rooms.
Cristiano Alviti in bronze castings expresses the strength of the Roman world, of the plastic materiality and of the figurative that accompanies his entire artistic path. The bronze casting has in itself its history and its warmth; its patina represents the passing of time and the invariability of the “moment” because this material offers a process whose methods of use have remained almost unchanged for thousands of years. The subject of mergers is the idea: the expression of the unexpressed potential of the individual and of society through the figuration of suffered faces and bodies embedded in cubic ideals that represent the constraints and compromises to which an individual must submit in order to survive.
Cristiano pioneered the use of plaster bandages made for orthopaedic cast in his sculptures. He would wrap a model’s face and body with strips of plaster bandages and after they would harden a bit, remove them and add extra plaster to mold in order to create a hollow shell. Knowledge of crafts and high skills in plaster.
Cristiano loves its fibrous nature and layered composition. As it is a living material, its characteristics change according to the specie of the tree that produced it. This means each type of wood has a unique density, shape and color, it’s complex and sometimes unpredictable.