Italo Calvino said that he was inspired by Fausto Melotti’s slender, light sculptures, full of spaces when he created Le Città Invisibili. This would be sufficient to stress the grandeur of an artist who interpreted sculpture in a way and with a conception that perhaps only another great like Calder was able to share. The progressive disconnection and detachment from classic plasticism led Melotti to be the only Italian and international sculptor in that ‘no-man’s land’ between the reigning iconography and the Neo-Dada Duchampian avant-garde.

The Installation which isn’t ready made, the figure that can’t be read in the most formal acceptation, an update and a linguistic reset that puts Melotti, Calder and Tinguely on the same level.

Fausto Melotti, Schematica, 1973, brass, 107x105x22cm

Slender, light and full of spaces, as Calvino said. We could add destabilising with their precarious, but definite, equilibrium, circumscribed in precise space broken down with extreme ability and skill, using many fragile materials like threads, nets, gauze, dangling balls, and ladders for the most part evocative. Infinite metaphors full of meaning that flow into poetry, the imaginative and improbable significance that allow us to dream or imagine a past or future full of emotions.

Melotti’s sculpture appears like a fusion of the concrete and abstract, connoted by an impalpable materiality essentially exalted through the use of materials sometimes poor and perishable, symbol of the same poetics of fragility that the works let transpire.

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