In the flow of time, the sculpture of Andrea Roggi is distilled into a symphony of rarefied forms e ancient matterin which the bronze and the travertine are stripped of their earthly weight to make themselves cosmic elements. Its human figuresslender and transfigured, they become icons of becomingsymbols of a silent meditation on being and the universe. In them, the tradition of lost-wax casting merges with the contemporary urge to tell the life such as circularity, such as encounter and dissolution. His works are suspended dances, dream flowers, fragments of eternityas the boundary between the real and the dreamlike dissolves in a lyricism that eludes all captioning.
Roggi does not represent: evoke. It does not describe: suggests. Thus each of his sculptures is a thresholdan inner vibration that penetrates the subconscious, like the rarefied music by Fauré or the astral compositions of Lieticapable of touching intimate, invisible, universal chords.
The world that Roggi sculpts is a living cosmosin which every form is energy that aggregates and disperses, a solar centre pulsating to the rhythm of mystery. In its dancing circlesin theperforated shadow that inhabits bronze, in the sacred light emanating from it, the eternal embrace between earth and sky, between matter and spirit.
L'Olive, an ancient and biblical tree, is transfigured into human bodies ascendingin a rite of metamorphosis in which the roots become arms, and the bark opens up like golden iconrevealing thedivine soul of being. The Perforated bell, the Sphere of Lifethe The Risen Christ are living archetypes, thresholds between dimensions, symbol-figures that narrate the reconciliation between man and the divine.
Each figure tends towards thehighin an attempt to touch the ineffable. La Resurrection become Spiritual Big Bang, l'soul becomes bronze dancing in the light, the form dissolves into ethereal texture. The Tuscan artist moulds visionsnot objects: every sculpture is a world.
The poetics of Andrea Roggi is a act of faith in the formunderstood not as surface but as manifestation of the invisible. His works, from the very beginning, reveal a deeply rooted in rural and Christian spiritualitybut capable of rising to a dimension universal, ethics, philosophical. Bronze, resin, travertine become symbolic languagesinstruments of a demiurgic fantasy that reinvents reality and gives it new breath.
In his journey, Roggi explores the infinite possibilities of form, closed in Euclidean lattices or dissolved in cosmic arabesquesalways driven by an inner force that tends to expand, a conquering space as a breath of life. His sculptures are embodied archetypes, ideas taking shape, tangible metaphors of human destinyof his eternal search for meaning.
As in Lucretiusmatter is neither created nor destroyed, but is transformed. And in the bronze it breathes, it opens, it rises, beats the heart of a travelling humanityfragile and powerful, which finds its most authentic voice in the whirlwind of the Cosmos: the voice of beauty.
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