Ferro Trasparente Fucsia, 1966
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In his ‘Ferri Trasparenti’ series, Pietro Consagra deals with a crisis of representation, seeking to rid sculpture of what he felt is a burdensome historical legacy by paring it down to its essential concepts. According to him, the medium’s canonical three-dimensional character implied an authoritarian centre, and, in an attempt to depict the deepest layers of the human soul, Consagra’s sculpture defines a philosophy of surface that is neither smooth nor volumetric, one that is instead constructed with juxtaposed or overlapping planes to create a bifrontal point of view.
Unobtrusive both in size and proximity, this bifrontal approach places the sculpture directly in front of the viewer and, in doing so, establishes an internal dialogue between them and the work. Consagra was driven by the need for closer contact with the “pulsating heart of creativity,” and for him, “Placement became meaning. By introducing placement itself as a concept of plasticity, [one] could observe sculpture in a way that would otherwise remain unrevealed.”