For Livio Seguso, the investigation into marble continued, but his curiosity urged him to identify other materials capable of meeting his sculptural and aesthetic needs. In his imagination, he saw very aged wood with irregular surfaces that, in the artist’s view, assumed an intense poetic charge that animated his creative fantasy. After this experience, Seguso expanded his research towards this wood, whose beauty released a charge of seductive lyricism that during this period allowed him to glimpse countless solutions of suggestive compositional harmony.
Foresta di luce, 2002
Clear glass and wood, 203×500×250 cm
Luce nel tempo, 2003
Clear glass and wood, 75,5×53,5×16 cm
Private collection
Rapporto contraddittorio, 2005
Clear glass and wood, 135×45,5×27 cm
Study for the sculpture Poetica dei materiali, 2005
Poetica dei materiali, 2005
Clear glass and wood, 129×45,5×27 cm
Luce e natura, 2006
Clear glass and wood, 103×97×28 cm
Private collection
Dialettica anamorfica, 2008
Clear glass and wood, 187×51×34 cm
Visione onirica, 2011
Clear glass and wood, 111,5×106,5×31 cm
Attraverso il tempo, 2013
Clear glass and wood, 335×96×22 cm
Livio Seguso 2007
…Seguso has expanded his experimentation and, therefore, his results to the conjunction-comparison of crystal with stone, marble, and wood, with a leap in quality that involves the broadening of a more articulated and complex sculptural practice in materials and composition, the matrix of unusual solutions, in the image […] sufficient to demonstrate the happy season of a sculptor active for decades and purposefully active in our time. For him, tradition is not remembrance, nostalgia, or worse, archaeology, even of the modern, but a living presence of the past in the present, or rather, a memory of the future.
Luciano Caramel, art critic, Como