Lorenzo Cecilioni

Lorenzo Cecilioni was born in Pesaro, where he lives and works. His artistic streak certainly has reminiscences in the family, in fact his uncle Franco Bucci was an internationally renowned ceramist; but his personal creative need takes him away from these echoes, pushing him to work incessantly on his works where he pours out what he breathes daily.
Self-taught and passionate about Arte Povera, he uses different materials (wood, tar, plaster, metals, leather, cements, salt …) creating works and objects of great aesthetic cleanliness and rare elegance.
Through a sort of expressive journey that arises from the idea / project, Cecilioni uses “poor” materials, transforming them and giving them artistic value through a careful and balanced study of forms. The reckless use of monochrome returns both in the most rigorous geometries and in the soft and less defined shapes. Often his creativity is expressed on the three-dimensional plane. As an expert craftsman he burns, assembles, sieves and transforms leather, wood, paper but also less easy to model elements, one above all, lead; by getting his hands dirty he uses the material in a conscious and “speculative” way, keeping in mind the past and the present but with an eye to the future. This process is spontaneous and finds itself strong, well structured, in his works which are never banal even in their linearity and cleanliness; indeed, they often turn out to be more complex, even in terms of construction, than they seem at the first approach (from attention to support, never taken for granted, to the transformation of materials). The result, works in which he mixes raw or “poor” materials with wise modernity. The alchemical union of the materials, the meeting of the same through known or elusive iconography / geometries is the journey undertaken by Cecilioni; a journey to which the consents received in the various exhibitions to which he was invited join.

“In the works, paintings-sculptures or installations by Lorenzo Cecilioni there is always a great compositional rigor and a choice of materials studied for a long time in order to create compositions that are only apparently abstract. Looking closely at his works, a strong pictorial sense comes out, an innate elegance in shapes and colors. I have always seen him experiment with alchemies of materials: oxidized lead, burnt wood, iron and then salt almost to act as a reagent and to make everything purer. Crystalline.
Because in the end, the color is salt while the movement is given by lace, lead, wood or fabric. With the salt he creates monochromes that become the basis on which to transform poor, precarious materials into works. This brings him closer to poor art, which has given so much to contemporary art, but which only partially represents it because in Cecilioni there is a strong theme of experimentation or rather of contamination.
The concept of time plays on everything because, with painstaking patience, Cecilioni knows how to wait for the evolution of the material: salt, worked with great wisdom, only at the end remains free to act and transform and amaze. Another aspect that I want to underline is the space or, better to say, the spatiality in his works which in some cases become almost metaphysical landscapes.
Lace, lead, wood or iron act as a corollary to indicate to the viewer the way to go for a personal interpretation of the work, and this is one of its strengths because it leaves free expression in front of a painting or installation.
Cecilioni knows that the nuances of the non-color given by salt or oxide are actually his palette, these nuances are “fumes” of the material that are transformed into emotions and moods, the brush instead is in contamination with other materials which gives strength, expressive power to his art.
Conceptual art or poor art may be close to the artist’s feelings, but I would leave them away from Cecilioni because they seem to cage his poetic vein which is instead in constant movement.

Enrica Feltracco