The walls series was made in connection to the fall of the Berlin Wall. If it is true that every time that a man loses his way, he goes back to copy from nature, Giorgio Bevignani, so receptive to epochal changes linked to the events of the 1989 turning point, simulates the stone, making the weft unfold again through the use of wax and a searing spatula.
Using the material connotation of Burri, the “theatral” action of Pollock and permeating them with significance through colour, Bevignani reproduces marble blocks as the constituent elements of sculptures, representing something which in reality they are not.
In the Grande muro blu, colour works as a visual concept and the blue, proposed in 42 nuances, represents freedom. Bevignani’s wall is a deflagrated barrier, almost transparent. The arc-composed structure, losing its stiffness and hardness, creates an internal fluid space interacting with the spectator and welcoming him into its centre.
Starting from the same setting, Muro rosso 1, Muro rosso 2 and Le nove Terre di Siena, get their true meaning through the endogenous analysis of final form of the installation, and through colour, where red stands for “truth”.
By Isabella Falbo.