Ethereal sculptural frames by the Italian artist Pietro Campagnoli

The young Italian sculptor Pietro Campagnoli has very clear ideas on what are the points of his research.

Inspired by the philosophical doctrine on the representation of reality of Plato and Schopenhauer, his works are a metaphor of a human being who cannot perceive reality, and who is driven by a continuous wind that makes his perception of existence waver, tossed between the pains and joys of the real world and the world of the human mind. His works are sculptural photographs which freeze in the plaster a moment of the body and of human existence for eternity. The past is perceived as the engine of change and evolution of the individual, represented in the imprint of physical matter

“I went from representing ghost-like sculptures to works that more decisively represented the transition condition of the human being from the present state to the future state. The transhumance of the individual from the physical to the existential state is one of the points of my research.”

Pietro Campagnoli lives and works in the Italian capital of contemporary art: Turin.

He has always preferred a self-taught research, as he believes than the artistic work is so unique and personal that it should not be too influenced by the masters or the market.

He consider himself an “anti-Michelangelo” artist, since, according to his philosophy, the human being is not a creature conceivable by humans themselves in its spiritual wholeness, and therefore it can only be hinted at visually, all the artists who represent the human being in a hyper-realistic way sin of immodesty because they try to represent an incomprehensible individual.

Inspired by the surrealists, especially Magritte, and the ancient Greek and Roman statues, especially Fidia and the Nike of Samothrace, it’s the Islamic aniconism inside the mosques to  give him most of the references for his creative artwork realization.

“Our feelings are not a trend or something influenceable, they are only to be expressed”

Due to his difficulties in conceiving human feelings (he has got the Asperger Syndrome) and due to the influence of Islamic aniconism, which derives partly from the ban on idolatry and partly from the belief that the creation of living forms is a prerogative of God, his sculptures never has a face.

Pietro Campagnoli leads the observer to reflect on topics such as fear, suffering and the capacity of the human being to free himself from them, free himself from the overabundance of the cult of the image and invites him to the presence of being without prejudice and without bounderies.





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