There is a sort of very happy musical instinct presiding over the visual research conducted with rare efficacy by Amedeo Fiorese, a Constant and committed musical plasticity within which the forms of this artist from Bassano who derives from the ceramic art of Nove, move with fortunate and valid results. Ceramist, therefore, painter, but above all, sculptor. He is a Veneto, but not dialectal, open to the present-day dialectics but not the new rhetorics.
He has an exceptional study and work curriculum behind him. He has worked with fundamentally ve¬ry great figures, such as the Pomodoro brothers and Alberto Viani, in the foundries. His studies tie him to the figurative apologues and to the maxims of the school of plastics, precisely in an interesting moment, rich in innovations (as was the beginning of the 1960s) of the Art Institute of Nove and to the teachings of the art school of the Carmini at Venice.
For Fiorese, then and now, the basic question was to speak, above all, openly and sincerely, no matter what he had to say. It was and is still necessary to reach a liberation from every misunderstanding and ambiguity, depart from the obstacles of the artisan fact as wellas the irritating and useless complications of the culture which is officialized and sanctioned, now more than in times passed, by too many, not disinterested voices, not get lost in exaggerations which in the provinces become whirlpools, or worse still, uselessly complicated and exhausting labyrinths (more often of words, or even «problematic moments, rather than works of art) and remain completely faithful to this open and sincere speaking.
It is exactly in this terrain that Amedeo Fiorese has always moved, while developing studies and experiments with always more deeper understanding, towards free, open, essential forms. It goes without saying that for Fiorese, a Veneto, surmounting of reality occurs with delicacy, modesty and not without nostalgia. In this sense, the full rhythm of that 'musical plasticity' comes to his aid and binds every part of his work, whether in ceramics (more specifically, majolica) or bronze within a «continuum» that has no solutions or want of respite, and that by means of harmonious evolutions of its well calibrated live geometry tends to attract within it-self the aspect and perhaps the essence of the vast world that surrounds it, magnifying its aspect and humanizing its essence through a knowing play of reflections. I could speak about Fiorese's most recent work, recall Pomodoro or Viani, or Burri, and without doubt it would be pertinent. But It's equally pertinent, useful and serious to note that Fiorese, although living in the time and climate of these great artists, has his own ways, a serene and clear, vibrant and delicate outlook on the problems of the new visuality, an outlook that is all his, as is all his the method of resolving these problems, which still exist, by means of a language that is not always easy but always closely contained within a harmonious and tenacious coherence.