Thus, with continuing experience, with those themes, such as religious sentiment, the dance, gymnastic or sportive exercise, sought purely for the energy and movement that could be expressed, the figure becomes more absorbed, more synthetic, almost a geometric union of volumes in which a matured knowledge  of  the  importance  of  the  moment  of  contextual  and  projective reflection is felt. Attracted by the lesson of dynamism in its formulations from futurism to the present day, in 'Torsioni', 'Flessioni' and 'Dischi' Fiorese experiments with an organicism close to the informal which is extremely impulsive, gestual and elastic, almost wavering, in order to approach gradually, through the gardens of Sassi and Cappello, still freer but more rational movements coincident with a further purification of the form in aerial sculptures that record the advancement towards a structural essentialness of abstract order (Acrobat in bronze). On the highly lucid surfaces moved by lines of torsion and corrugation in the material, the light creates games of surreal animation that intensify the dynamism of the forms, and at the same time, reinforce the impression of monumentality and de-materialization. The properly sculptural research and the de­corative ceramic goals in furnishings and architecture now fuse, and provoke a plastic proliferation of more carefully articulated and more meditated attention towards the environmental and architectural space. A new inspiration towards a synthesis of space, surface, body, volume, light and movement underlies the Figures, Columns and Acrobats in platinized and copper-colored or gilded and copper-colored semigres, which constitute in my opinion the most original and valid achievements of Fiorese's activity. The structures have become more complex, but, in virtue of the experience acquired with decorative products (panels, chandeliers, projects for small tables), also more lucidly intuited within a richer and more dynamic spatial articulation. With a plurality of rapid ascending passages of solids and hollows, the vitalistic rhythm of the Figures realized from 1975 to the present arrives at architectonic solutions with continuous developments, as in a progression of multiplied combinations. Here the projection tends to become dominant, and with it a creative rationality that avails itself of every artisan secret in these surprising unities of curved consonant tensions. The knowledge of the constructive method, both lucid and emphatic, does not inhibit the exercise of the imagination, and Fiorese applies his fervid but never disruptive inventiveness to the institution of very dense games of harmonies, recollections, reflections and meditations between the work, the luminosity and the surrounding space, to create uninterrupted sequences of variations, refining the form until a highly essential and elegant suggestiveefficacy and art inventive liberty are reached. Fiorese shows that he knows how to unite consideration of the research with operativerealizations of high esthetic quality that are capable of evoking a wide and varied gamut of allusions and sensations, stimuli and experiences.

Giorgio Segato