The history of Murano glass is well known. As a medium, it is beautiful, but under layers of years of poor taste in production, it sometimes appears démodé. Luciano Vistosi, who began sculpting last year, however, reaffirms one reality: the countless creative possibilities of this medium.
These sculptures by Luciano Vistosi highlight the intriguing side of glass, which brings about a typical spatial transfer. The deformation in transparency and measure creates in the viewer the illusion of a detachment from the conventional world. The crystalline mass becomes atmosphere and, with a drug-like effect, fuels dreams and passions. Luciano Vistosi has understood all these possibilities and is attempting to harmonise the problems of contemporary figuration with the possibilities of glass. The path of blocked forms, and ultimately of a square construction similar to certain French sculptures, has brought him closer to solving the problem, but the truly ingenious intuition is represented by the insertion (illusory on a technical level) of a multiple composition of geometric objects into the space, or rather into the air, of the external glass form.
The path opened up by Luciano Vistosi, which will certainly take him far because the creative possibities appear unlimited, is artistically valid. At the opposite extreme from “anxious” art, and indeed with the calm confidence of someone who believes in the immutable values of forms charged not with surrealism but only with classical suggestions, he constructs object-worlds, true microcosms that society (this one, yes, “anxious”) must consume as an antidote to the total obsolescence of artistic ideas in everyday life.
Bruno Alfieri