Upholstered leather armchair
Roberto Fallani, artist of the “bound”. Bound like creative exuberance and versatility, of teachings that interact so much that refuse any critic code; bound of the vision in itself too, made extreme by numberless cultural, stylistic and mnemonic inserts. The Fallani’s replay to the postmodern word is in this exasperation of the taste, felt as a “summa” of his experience of searcher artist, where all the things seem in a mutation’s and hybrid’s state. And it’s here from that start same futuristic hintso of the shape that remind a Kind of decorative archeology and fantastic thinking again of modern, worthy of “Metropolis” and Flash Gordon. The iron, symbol of the protoindustrial age of the nineteen century, becomes for Fallani a material and a metaphor too of a contemporaneousness that “goes further” towards to the past for discovering its aesthetical legitimacy; like that the bolt and the gear declare their wrong building and mechanical vocation becoming plastic absolute elements, almost a parody of all the possible workings. Technologic totems, these “lighting up sculptures” suggest again the supremacy of the beauty on the usable objets, in the same moment in which they transgress the syllogism of the “beautiful as useful”. These sculptures are light’s machines, signals indicating the enigma of the shape that gets rid of the history and of the its dogmas, at the beginning of the third millennium.