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Torquato La Mattina gravetti’s “venuses” for the post-industrial age

“But the sign becomes form and, in the world of forms, generates a whole series of figures, which no longer have any relation with their origin.” (H. Focillon)
The coils of Torquato La Mattina are born of the plastic sign of a reality which is signified: form.
Form impresses a meaning on matter, above all where its consistency (terracotta) participates in the new epiphany. The artist follows a line of generation which shows correspondence and, sometimes, identities of facture, but he does not repeat himself; if anything, the deep pulse of his creative inspiration constantly informs above all the latest production. The female figures are the dominant theme. One must pay particular attention to these proteiform shapes, Gravetti’s new “Venuses” of the post-industrial era. They could belong to a wholly personal stylistic convention.
“Maternity”, “Ragazza in fiore”, “Donna superba” and “Donna irresoluta” are ideally united by a common style which presents itself as the expression of a feminine status.
The evolution of smooth convexities pursuing crinkled concavities marks a functional verticalism, the rhythm of an evanescent spirituality, the symbol of a different condition. Afterwards, material takes care to give body to this ethereal, noble, sinuous imagination which allows itself to be glimpsed with great discretion, activating the fantasy and aesthetic sensitivity of those who have captured the gaze. Hence they are distant from Alberto Giacometti’s forlorn bodies, whose existential cry does not blend well with the lyrical dream of a matter which is still pregnant with evocative power.

Palermo, Luglio 1991

Giusi Bertini

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