“It is the inventive density of the forms which holds me nailed there during hours…

This silence which is around this dissymmetrical mass, this form goes from there in all the directions… ”.

 

Emile Gilioli is one of the leaders of the lyric abstraction in the sculpture of the Fifties, whose work is characterized by the examination and the twinge. Expressing itself in traditional materials: the marble, onyx, gilded bronze, this artist oscillates between the tradition of the stone masons and the imagination of the treatment of its subjects. Its works break up into geometrical forms where the curve and the angle marry themselves, sensual. They relative then of colors sharp where the black sometimes comes to make counterpoint.

Working carefully the reflections of a raw material, it polishes with the sun the side of its work… in genesis. “It is not the model which counts, but the light” will tell him its professor of the School of Beautiful Arts; council of which it will make the secrecy of his work.

 

Perhaps this for that is that its works are made to be exposed in the open air. “I will say that the beautiful sculpture for me, it is the sky, I will never say it enough. Ultimately my greater desire, it would be to manage one day to make a sculpture in full sky, which breathes with him the unit.

I know it well that in the field of the love that is not possible that if the sky is in me. ”

 

The horizon will always keep a prevalent importance for Gilioli, just as the sun as it declines in various forms: head, sphere, swell, centre which comes each time to face the triangle or the trapezoid. The solar star rolls on the edges and thus breaks the strict surface of its works, centering them of a new balance. Symbol of freedom and infinite, rotundity emerges in way prégnante in “the Headstock”, whose massive volume is roughcast spherical outgrowths. Impressed poetry and of smoothness, its work also reveals sculptures with vertical lyricism seizing (the Man-Bird; Spirit, Water and Blood…).

 

The majority of its works start from an abstraction of the human body which it strips little by little, to go towards a formal purification even more marked. The workman is then with the service of the artist, which makes all the singularity of its work since with the force it combines refinement. With a meticulousness specific to the large sculptors, Gilioli in all the richness which simplicity has, connects graphics to volume. Thus legitimating the freedom of the gesture (of the hand and spirit), it moors its works which incarnate a whole a call and a block, the beginning and the result. Like a man in love, Gilioli watches for and has a presentiment of the blossoming of its works which anchor a bond each time a little more extremely between the matter and the thought, the ground and the sky towards which stretch all its creations.

The sculpture is not only one profession but a confession said it…At his place, each one of its works are an act of faith.