Plaster sculpture
Measurements: 81 x 50 x 24.5 cm
Idealized portrait by Maestro Rivadossi of "Giuseppe" ("Giosef" to his friends), one of his best collaborators in those years. The work, irreverent and fun, lays bare the psychology and the joyful and playful character of the model represented.
Giuseppe Rivadossi (Nave, July 8, 1935)
Inheriting his interest in art from his father Clemente, Rivadossi officially began his artistic career in the sixties, approaching the study of sculpture in wood, plaster, terracotta and bronze, and taking an interest, right from the start, in the domestic space, which would later become one of the key themes of his entire work.
In the seventies, thanks to the attention of friends like Francesca Amadio and important gallery owners like Renato Cardazzo, Elio Palmisano and Alfredo Paglione, he began his exhibition season as a sculptor, which saw him exhibit in various national and international artistic events such as the Milan Triennale (1974), the Menton Biennale (1976), the Rotonda della Besana (1980), the Palazzo del Ridotto in Cesena (1996), and the Palazzo Forti Modern Art Gallery in Verona (2005).
Among others, the following have written about Giuseppe Rivadossi's work and poetics: Giovanni Testori, Vittorio Sgarbi, Roberto Tassi, Gianfranco Bruno, Marco Vallora, Ermanno Olmi, Giorgio Cortenova, Piercarlo Santini, Mario Botta.
Giuseppe Rivadossi says:
I saw wood being worked since I was a child.
I saw forests grow and trees of all sizes and qualities being felled.
I saw my father transform these woods into wonderful barrels and beautiful carts for the local farmers.
Until twenty or twenty-five years ago, where I live now, the relationship between man and man, man and nature, was still based on an ancient ethic.
Then industry arrived, and with it began the plunder.
The hope of a less harsh life soon turned into a bitter realization.
The new technology, which was supposed to be just a more refined tool, turned out to be an instrument of frustration and general disintegration.
Now, in this situation, I feel more and more deeply the need to express that fundamental sense of unity of existence, as a basic idea not to be lost or to be rediscovered at all costs every day and in everything.
I consider the environment in its totality of nature and human intervention, the unique work of art to which everything belongs and in which we all are.
I believe that (Art) is all of man's work and, speaking of my work (which I consider for what it is, only a tiny part of that unique work in which we all, for better or worse, operate and live), I will tell you that I too, like my father, started by building furniture and various wooden items for my people.
As I progressed, I realized that these things had to be built according to deep and precise needs.
Thus, I found myself working on containers (furniture) and sculptures with an appearance increasingly at odds with the degenerating environment that was transforming and impoverishing itself, and I realized that these things of mine were taking on ever greater significance, both in the way they were built and in the material used (wood).
Therefore, I partly abandoned the function of containment for a different function.
Thus I arrived at these latest images, in which the idea of a different way of living, of living within (within life, within the things of life) is depicted through structures that I create starting from precise design and recovering all the common carpentry techniques as a primary language.
Now these images, these sculptures, and these pieces of furniture are born from the depths of my experience like a song, of that hope and of that only alternative that lies before us, more than of nostalgia for the past.
Giuseppe Rivadossi
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