Con gli specchi 1979

Curator: "Con gli specchi," which translates to "With Mirrors," created in 1979 by Fausto Melotti. It's a mixed-media sculpture, predominantly metal. I find it quite intriguing; what's your initial reaction? Editor: A sense of lightness, of open space held captive. It's like looking into an architect's abandoned dollhouse. The reflections must play wonderful tricks with the light. Curator: Indeed, and the constructivist structure, combined with the playful arrangement of objects, speaks volumes about the artist's intentions. The grid, which dominates everything, feels both confining and liberating, wouldn’t you agree? Editor: Absolutely. It acts as a scaffolding for Melotti's whimsical choreography. Take that little ladder motif. Is it about aspiration, about escaping the grid, or merely a rhythmic echo of the structure itself? Curator: Perhaps both! It introduces a vertical thrust, a counterpoint to the prevailing horizontality. What do you make of the mirrors themselves? Editor: Mirrors offer a fragmented vision, reflecting the world back in broken glimpses. They also invite a kind of self-reflection. This sculpture isn't just about seeing, but about being seen, being reflected upon, trapped in the metallic matrix of modernity. Curator: Melotti manages to balance delicate sensibility with this rational, almost mathematical structure, what strikes you most? Editor: It is indeed delicate. And yet the grid suggests rigor, control. And the metalwork— those lines creating such precise divisions—contrasts with the flowing shape in the upper left-hand corner. All in all, it is like a musical composition rendered in steel. A harmony between precision and the unforeseen. Curator: I see that, very much so. Editor: I see more and more depth each time that I see this. It takes us into so many different layers that speak differently to each one of us. Thank you for helping me better understand it. Curator: It was my pleasure; I always gain more perspective by exploring the art that surrounds me.