Conceived specifically by the artist for the gallery’s entire cinema-theatre space in San Gimignano, The Ineffable Gardener comprises a substantial body of work. Physical phenomena become an optical and emotive inventory of the environment. Natural systems are  transferred into a layered system of semantic relations in order to reveal the invisible processes of a synthesis between nature and  culture.

SHARE THIS ARTICLE THE INEFFABLE GARDENER – Installation and Objects by Loris Ceccini, through 29 April 2018, Galeria Continua, San Giminiano galleriacontinua.com

Modular steel sculptures, tangible phenomenologies in stone,  microscope images re-elaborated in 3D in the shape of  monochrome pictures and watercolour and pencil diaries  encapsulated in transparent vacuum wrapping yield material  geographies and poetically elaborate the space and the surface of  the work: the exhibition floats in the spatial infinity of the micro  and the macro, in which the phenomenal reality re-elaborated by the artist becomes anatomical memory and conceptual diagram. In the expressive osmosis created between biological forms and architectural structure, Cecchini invites us to reconsider our conceptions of reality and representation, the organic dimension of  natural development and that of the technical-artificial  landscape.

At the heart of Cecchini’s work is a new reading of spatiality:  physical space is interpreted as something biological, organic and vital, but at the same time as something that is rationally structured, mechanically produced, perfectly artificial and yet endowed with an organic-structural functionality. In a recent  interview, the artist declared:

“I have devised my creative language around the ideas of the object, the model and architecture. Often the work refers in different ways to the idea of inhabiting space. Currently, I am exploring the space of sculpture and of the environmental installation according to a notion of the parcelization of material, almost a sort of molecular  deflagration of sculpture, in which scientific phenomenology becomes an intimate structure and go-between for vision.

This is after having for many years investigated the human relationship with curved space, a space where the right angle and  the Euclidean paradigm give way to organic deformation, pervading  he sense of form. What I produce on different occasions are series of works using media ranging from watercolour to photography, from the large-scale environmental installation to the micro-sculpture. It is a space that spectators themselves walk  around in and complete. There is the constant idea of a “dual  landscape”, in which the physicality of the materials refers to a  virtual design and vice versa.”

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