Oltramare 1984

Editor: We're looking at "Oltramare" by Giovanni Anselmo, created in 1984. It incorporates metal, stone, and that distinctive, saturated blue. The juxtaposition of these very different materials is striking to me; it feels intentionally unbalanced, like it could topple over at any moment. What's your perspective on this piece? Curator: Its form, seemingly precarious, immediately arrests the eye. Note the rough-hewn texture of the stone against the smooth, almost clinical finish of the ultramarine block. The line bisecting the composition functions as more than a mere connector; it's a critical structural element, both physically and visually. Observe how it creates tension. Does it hold or constrain? Editor: I see what you mean about the tension. It’s like a tightrope. The materials contrast is a lot more evident now that you’ve highlighted the finish of the blue block. I wonder, is there significance to the artist's choice of the color ultramarine? Curator: The selection of ultramarine transcends mere aesthetic preference. The very intensity of the blue, its placement, commands a proportional analysis. Does the colour overwhelm or serve to anchor the stone? Consider, too, the historical associations of ultramarine with luxury and spiritual transcendence, as sourced from the rare mineral lapis lazuli. Editor: So, the color isn’t just a color, but also a symbolic choice. I'm starting to appreciate the visual balance, and imbalance, a lot more now. Curator: Indeed. And this extends to Anselmo's broader oeuvre. He consistently engages with the relationships between opposing forces: weight and weightlessness, stability and instability, natural and artificial. Editor: It’s fascinating to consider those contrasts! I'll definitely view Anselmo’s works with fresh eyes from now on.