The dynamic feminine figures of Marcello Giannozzi
Elect to personify situations and feelings, the feminine figure that is absolute protagonist of the sculpture of Marcello Giannozzi sight not to rise itself to symbol and does not resort therefore to outline in one ripetibile iconography. Its role reinventa every time that is made through of a new story: it points out a teatrale gestualità in order makes "Nymph dancing" or "Singer", is collected in placed locked in order to provoke "the wait" or "Meditation", fixed the expression of the ace being closed the eyes "To the sun" or pushing behind hats like polena "To the wind".
After the lucentezza del bronze and the opacity della terracotta, hour its women often dress the intriguing colorations degli ceramic enamels, sometimes she emphasizes nelle superficial black and nei obtained metallic glares to you with the technique raku. Like many personages of a large one commedia that it reaches more gladly to the quotidianità that to the rhetorical, they betray imperfections they do not search an ideal beauty, they risk placed unusual in the unexpected one to inarcarsi on a flank or in reclining the head nearly they favoured a spontaneous motion, always dynamic equipped of an unforeseeable one I wriggle expressive that it acquits to them from the staticità also when the body erge, in the only volume of the long garment, collected like one column.

Roberta Fiorini
Eco d'Arte Moderna -Premio Italia'98 / Scultura


Interiorità and shape
Through the sculpture our necessity becomes obvious to establish a dialogue with the space, with our fragmentary cognition of I legacy to the contingencies of the time.
Marcello Giannozzi perceives therefore the emotions that belong to our vital flow and lead the own search outside from the outlines of one theoretical of the rappresentazione, where the shapes helps us to realize that sure useful body to the fantasy and the life. Its plastic work fremente turns out from a comparison between necessity to express and desire of synthetically imprimere and with nature in the matter one determined vital expression.
The hand is felt that it models, the polpastrello, the adduction of the clay consecrated water on the body of the work that goes making oneself also for light blows overlaps and embezzles, constructs a interiorità to the surface, conquest blocks poetico, substantial to its figures, something that takes from the space luminous pastes but also ritmiche openings.
It is clearly that that one of Giannozzi is a cautious approach to how much the memory, the fantasy or more simply the verification of the real one in lyric terms, transmits to it; that it leads it towards the regions of a private simbologia, made of figures that they maintain, in distance, a tepore of affections. Its job is situated therefore in a crinale of memories that seem to emerge on the spiazzato plan of the future, tomorrow that it has an own identity upgrades them and an increase, to become of images that corresponds, by now, to a civilization distance. The bronze, the terracotta, the Raku (therefore close expressively to of the pittoriche requests), is alternated in the search of a unitary language, to the deepening of a figurale system that follows more gives close dipanarsi of the human vicissitudes.
The temptation to return behind, to a round, pacificante plasmazione to all, is large, but equally irremovibile it is the present truth; in this dilemma, in these fears to have mistaken, of being inept to new experiences the giostra is consumed vital, desire to love the things. With this foundation of creative energies the sculpture of Giannozzi has been made more determined, the more compiutamente timbrica, more penetrates to the things, while the matter tries more lyric relationships with the space. A vision that assumes the necessary incisività and has the sufficient space to a breath and to a life that progresses without efforts, without stilismi, with a nature that has not abandoned something of gestuale and entirety is relieved from an authentic presence, spiritual for how much of true and risked it it contains and manifest.

Nicola Nuti
Eco d'Arte Moderna

 
Marcello Giannozzi experimenter of materials and techniques, also in the various yield and the various demanded operativities to second that jobs stone, clay or metals, is successful to trace a its covered personal that, not without declines or ripensamenti, it has designed however effectively an intimate world, lyric, that it recovers the simple gestures of the quotidianità and the heat of the familiar things. A private simbologia that ago of its figures archetypes of feelings and states d'mind and this is that they dress the luccichio of the bronze or other metals, that dense opacity of mystery of the cooked earth is revealed between'the luccicanti colors of the ceramics or l, or still is designated from glares obtained with the technique Raku, much neighbor, expressively, to the requests pittoriche.Una sculpture that participates us of a serene love for the things of the life and its mystery.

Prof. Claudio Giorgetti
dal catalogo “De Sculpture” Centro espositivo
delle Erbe.
Carrara Agosto/Settembre 2002