There are three characteristic periods for Claudio Nicoli sculpture that coincide with the stages of his cultural formation. The first totally Emilian, Claudio a child tinged by the same humour as his land of origin, of ‘base’ Bolognese where the fertile prodigy of Gea renews itself continually; “I was born with clay in my hand” says the Maestro “my father worked in a furnace and sometimes he would bring home clay, model it which would give me great happiness, they were small world models that skimmed under my fingers”. Early humus, an internal voyage made of invisible emotions the fruit of meetings and clashes and like the countryside, the magic of the shape to liberate the shadowy impulse of one’s own unconscious.
The second asserts the arrogance of adolescence when the thirst for myths is stronger and has more vigour and when each one of us would like to sculpture for himself an erotic image. The Homeric poetry reading of high school has imprinted on us an indelible fantasy, creating an instinctive abstract imagination; the Great Passion becomes for him an inexhaustible font. The balance of the Greek models unite with a Renaissance spirit that grows together with the knowledge of the material and shape and transforms for him into a synthesis of dynamic gratitude.
The third is a vision assimilated by his maturity in the Tuscan land. Experiences both human and social which condition and feed a continuing research for new subjects with which to compare himself; the boundary between history and myth become unstable. The architecture of his work is impregnated in the Etruscan mystery on a bridge that crosses time, telling you but never revealing it to you, because the reality isn’t ever present in its entirety. They become absolute works and a-temporal, the sentiment is transformed into abstract energy that flows through the act of a perfect union between mind and heart.

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