Amedeo Fiorese (Giorgio Segato, 1978)


The sculpture of Amedeo Fiorese has its origin and completion within the environment of a technical component that is clearly artisan and unmistakably tied to the centuries old plastic and decorative experience of the Bassanese ceramists. However, not for this can one speak of a sculpture that is 'naive' or a banal repetition of superficial motifs,nor can a too reductive valence of research and invention of easily read and merely decorative plastic motifs be assigned to his work. I mean that Fiorese's sculpture derives directly from a long artisan apprenticeship in ceramics which highly conditions and positively 'contaminates' it even when the expressive medium, the material, varies. But the result of this productive process, particularly themost recent works, belongs with full right to sculpture. On the other hand, Fiorese's open and spontaneous character would poorly tolerate a too sharp dichotomy between being an 'artisan' that repeats forms of a now consolidated taste, and an artistic aspiration that pushes him to examine and experiment with problems of form, light, relationships of volume and space, volume as a physical mass, and volume as a hollow space. Fiorese feels one and the other, and with obstinate tenacity, while his 'shop' of authentic ceramicartisanship flourishes, he pursues an always more careful and severe research of modernization within the context of contemporary sculpture. Only a few succeed in this, and he has succeeded in creating an ideal equilibrium between his 'routine' work and his personal examination, between the repetition of usual, expected forms in the decorative exercises, and the immediate need for a more efficacious 'education' of his own creative energies towards a satisfactory expression of his rich and versatile artistic vein. After the Institutes of Art at Nove and Venice, contacts with several of the greater contemporary artists in the Veronese foundries contributed highlyto his formation as well as the direct knowledge of their method of operating artistically, and the habitual meetings at Faenza with the international master ceramists. The Constant relationship with the young apprentices in the shop and mostly, the experience of teaching them has certainly accentuated his curiosity and availability for experimentation with forms and techniques. Howe­ver, without doubt, Fiorese has received the greatest stimuli, and the most significant re-cognitions and most intimate satisfactions, from his participation in the Faenza show, a very qualified and qualifying test for whoever aims not only at 'artistic artisan' levels, but more so at reaffirming the dignity of authentic and complete artistic expression of the plastic research related to the production of ceramics. Even if his choice has not always been coherent, Fiorese has slowly but in continuous progression reached, in these last years, exactly those results in which the unquestionable technical skill of the ceramist mediates with the capacity to translate the ceramic fact into an authentic plastic fact, a li­ve and autonomous sculpture. The way has been tormented by uncertainty, hesitation, renouncement and false achievement, but Fiorese has persevered, waited, tried again, studied, and experimented, analyzed and discussed, taken up again congenial themes and motifs, adapted them to his own need and examined thoroughly their plastic significance.

Giorgio Segato