THE RESEARCH AND THE LANGUAGE
in the sculpture of SILLA FERRADINI

by Giorgio Seveso, art critic and journalist

Though his recent work is a singular assembly of various objects and proper sculpture, shall we say metal high-relief, Silla Ferradini lays down the terms of research which persuasively intertwine formal and poetical survey.
The work comes into being on thematic grounds which today can be delined generically and in all as urban involvement.
This distinction has developed gradually with in his work which previously had a lesser social content, not so "engagées" playing alongside as it did a sort of transplanetary philosophy, a sort of cosmogony, laced with science fiction based on characters and events on the planet "Son".
A wide and articulated metaphor in which elements of subjective judgment were principally reflected, together with traces of Oriental philosophy but also a metaphor in which the declaration of plastic terms suggested a way of perceiving sculpture as a critical mimesis of contemporary and the features of such: the glassy, finished, aseptic, chromed, geometric and "cold" geographic of a plastic world and the like.
Today in fact this kind of theme has widened out towards less subjective matters, towards inseminations in which the image in a less idealistic, less surrealistic manner is associated forcefully with the environment of contemporary living; it is doubled into an objectiveness that certainly leaves a far more involving and effective mark that in the past. It has I would say a mark of denouncement, or at least of conscious evidence of participation.
I mentioned formal survey combined with that on a poetical scale and the efficacious results.
It is here in fact that the results of Silla's work find a resumé of strong suggestiveness and presence, besides reviving a curious, extremely individualistic actuality of image, a most modern and involving consistency of tactile message.
The distinctive style, so very ''pop" of his high-reliefs, in fact stur up in us, though our sensitivity as citizens (or shall we say urban animals truly conditioned by a general consciousness in the way of seeing - that is, strougly described through technomorphic expression, through visual gratification of the metropoli and through the methods of mass communication) a sort of complicity concerning the environmental lay out in which we are immersed.
And this most certainly represents a way of being involved in the course of events a way of understanding the thick layess - so very cold but less superficial, and way not take part with a clear voice, that of an artist and a poet.