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Roberto Lanaro
Iron is a material which has been familiar to me since childhood, because my father worked it in his workshop. In my first works I used this metal to form stylised figures that were modelled using an oxyhydrogen flame, but now I no longer work violently upon the material, striving to tear and cut it. At the time, that method enabled me to understand the content that can be released in and by form. But what interests me now is modifying space from outside, respecting the special characterises of this metal without cutting away or adding. A metal bar exists already; it has a rational structure. Intervention that works to exercise non-rational control upon the unexpected, modifies and liberates that structure; it makes it open to changes in direction. And it lays it open to a multiplicity of interpretations. Thus something new comes about. I have always been interested in the contraposition – the clash and conflict – between the rational (that is, the natural) and the irrational (that is, the product of artifice, of the on-going dialogue between man and his environment). In the form that is created there is always something that is asymmetrical, which is caused by a rupture or break; it is this which makes it manifest that perfection is a state towards which one must strive, which man must struggle to achieve. For me, the modelling of form is not an act of construction or of imitation; it is a real event, laden with tension and truth. Rust itself is real and true – just like the manifest tiredness of a man who sweats as he works; it has a value in itself and is not something to be hidden and disguised. Instead of metals such as copper, brass, bronze and steel, what fascinates me the most are iron and weathering steels, those that have become reddish in hue. For these are materials that have a porous surface and take on a wealth of reddish nuances due to rusting over time. My sculptures deal with the relationship between man and his surroundings; their final setting is chosen primarily to make them part of a living environment; both sculpture and architecture, they are free forms in space. I would like to end by expressing my gratitude to all of those who have given me their support and who have contributed to the production of this monograph covering 40 years of my life. www.robertolanaroscultore.it