Sculpture in particular and art in general represent in Cristiano a melting pot of emotions and feelings as well as being a way to tell his inner world and a means by which to create a bridge between this world and the rest of humanity, in a continuous act of exchange, dialogue and understanding. Leave tangible traces not only of himself as an artist but also as a person making each work a sort of antenna capable of transmitting its most intrinsic meaning to everyone forever. Here is Cristiano’s greatest desire. His is not fear of death but fear of wasting life and so … how to avoid such a waste? You have to learn to listen to your life, be able to go towards it and find the most suitable tools to translate its messages from time to time. In the case of Cristiano, the instrument par excellence has always been the Sculpture in which eternity finds its place and form, giving an infinite dream that goes beyond any geographical and temporal boundary. The creative act thus becomes a journey within oneself, an introspective path of eliminating the superfluous and reaching the beating heart of what is most authentic and important for the artist. Cristiano’s sculptures speak a language of wonder and require, in order to be understood, a real act of will to understand by others. Finally, starting from the assumption that each of us has its own specificity and that therefore we are all different, we understand how, in the case of the Alviti brothers, the artistic creations are evocative of situations and feelings that you are then left to the spectator to further investigate to get to always deciphering new meanings, also and above all in relation to one’s own feeling.

Poetically and lyrically inspired, over the years he has developed a very particular, extraordinary nucleus of plastic and narrative sensitivity that feeds on rare, precious suggestions, derived from the peasant roots of his childhood, from the relationship with humanity that shines through from every face that he meets and that seems to have lost familiarity with nature, with the pains and joys of a life almost forgotten by now. His work resembles him, giving the impression, almost physical, of a great strength combined with a profound despair: of a robust energy, with brutal moments, combined with a subtle and nervous delicacy.

The fervor that sustains him and that has always pushed him, from the very first evidence of the most naive and basic figurative imprint to the torn and concluded forms of today, is full of lyricism and pietas for the human being. It is almost instinctive, springing and flowing, like his works deployed on the subject almost without sedimentation or translation, distilled from a state of mind, from the warmth of memory, from the intensity of feeling.