For the first time, Andrea Gallotti presents a project that organically intertwines his painting and sculptural research, transforming them into a single, coherent, and pulsating language. The exhibition, curated by Livia Ruberti in collaboration with Orma Art, is hosted within the spaces of Galleria della Chiusa, a place of expansion and experimentation with collaborating galleries. The selection of works offers some perspectives on Gallotti’s ongoing exploration of the complexity of the sign function and its infinite possibilities for variation, proposing an intimate and rigorous dialogue between matter, gesture, and time.
The exhibition brings together a canvas that reflects on the “grammar of the gesture,” five marble sculptures, and nine glass works, all created in the past year. Together, these works form a visual constellation that investigates the sense of becoming, the inevitability of change, and the complexity contained within repetition. The marble, with its millennia-old stratifications, evokes a geological and meditative sense of time.
In Gallotti’s works, its compactness opens up to an unexpected sense of lightness: the pictorial gesture becomes the matrix of the sculptural form, and the material, in turn, adapts to the artist’s gesturality, embracing rhythm and tension. In this reciprocity, marble seems to become a living body, capable of conveying the dialogue between permanence and becoming. The natural veins of the slabs, originating from different parts of the world, are not just marks of the stone but metaphors of unique and fragile identities—traces of sedimented life.
Next to marble, glass represents the threshold: a transparent, sensitive, and rigorous matter that allows us to see beyond, while imposing a limit. Gallotti approaches it as a field of extreme synthesis, where two colors and a single gesture suffice to evoke a poetic tension between presence and absence. The mark, traced on the back, reveals itself from the front depending on light and viewer movement, creating a continuous perceptual play. The glazed surface, with its rich yet calm tones, gives the works a sense of peace and introspection, transforming viewing into an active experience—the purest and most essential way of engaging with the aesthetic act.
In Gallotti’s practice, the gesture does not illustrate an idea; it generates it. It is the material itself, in its resistance and response, that guides the form and defines the boundaries of the visible. Thus, the work becomes an act of attention, of exposure to time and its transformations. Repetition is never automatism but a conscious exercise: each time, the gesture renews itself, discovering its own difference, building a language where action becomes thought and matter becomes body.
