ART LABArt_Lab_11.html

gfq has devoted himself to artistic production since the beginning of the Sixties and Seventies, in fields ranging from painting to sculpture, from installations to video, from photographs to large-scale works.

His first artistic works of the late 60s and 70s (X) are studies mainly related to the theme of introspection and a search for self, the meaning of faith and mysticism.

His first trials in the late Sixties using cardboard, works which were completed at a later stage, are abstract studies that retain references to the human face, using experimental materials, as well as symbols and colors linked to issues later enlarged upon during his artistic career, such as the passage of time and the uncertainties and role of the individual in contemporary society.

Attracted especially by the theme of light, its symbolic value and its transmission, in the series Complications, (X), gfq created a new kind of visual communication in which light, projected through an element made of stainless steel, becomes a sort of encrypted writing.

The light projected onto the stainless steel elements and the position of the observer, reveal the many messages which are not immediately evident, but are present in the square panels measuring 69 x 69cm, based on a careful study of the symbolic value of numbers.

The works in this series have been created using both sides, as though to nullify any hierarchy between high and low, front and back. The surface itself, alternating cryptic writing with the pictorial element, involves the observer, who through the mirror surface becomes part of the work itself and moves in symbiosis with it.

The clean-cut, basic forms of these works, which convey a sort of dynamic order, reflect the influences of Zen philosophy and the Metabolistic school of thought, embraced by the artist thanks to his experience in Asia. There are many references to the Japanese concept of "rinne" as a meditative flow, the elimination of the static, the division between empty and full, moving towards a notion of time and space  as natural and cyclical.

Great Complications (X), belong to a slightly later period. They are works in which the themes of humanity and spirituality are accompanied by a profound reflection on the dimension of time and the perception of the individual with respect to the passage of time .

Referring to the art of measuring time, and fascinated by the complex inner workings of watches, high standards of engineering and technology combined with craftsmanship in creating minute repetitive mechanisms, as well as the miniaturization of components, Great Complications reflect on the Bergsonian concept of time in science and time in consciousness, focusing on the individual as a human being, living his or her own reality.

Time is the passing of seconds, an awareness of its passage, a presence at the moment of full subjectivity of the individual, as well as references to cosmology and the cycles of the moon.

The works become complex, color dominates the compositions, which explode and open up towards a dialogue between microcosm and macrocosm, a study of the cycles of the moon and the concept of synchronicity.

The individual who interests the artist is the one who lives in society, and finds self-completion within it, and it is for this reason that artistic reflection is extended to the social, economic and cultural aspects of contemporary society.

Africhic, (X) a symbolic representation of a country destroyed and torn by trouble and hardship, touches on the themes of human responsibility, the image of the individual who loses power and  breaks down, a victim of his own inability to cope. The Bonsai, as a plant, is a living element needing care  just as the land does, and the presence of mirrors emphasizes this message, as well as leading towards a broader reflection on what man hides and what he declares, an awareness of  the importance of action for the fate of entire nations.

TT 02|09|11, (X) is a reference to the attack on the Twin Towers and offers different levels of interpretation, recalling symbols of the Western and the Arab worlds, in addition to the presence of mirrored surfaces which make us irrevocably become part of history, and  subtle sounds that touch the most emotional side of the observer.

Stop. (X) In using images which are well-known to us in these times of economic and social crisis in the western world, this high-visual impact sculpture wishes to invoke consideration and awareness of the contradictions of today’s society.

Stop is an interruption of movement, the flow of thought, activities being performed, but can also be seen as the interruption of the role played up to now by the individual in society.

Two naked people, a man and a woman, have lost their jobs  but are unable to overcome their own limitations. The cardboard boxes contain  the lives they have led up to now in their workplace: the office. The two people are seeking a new direction but are inevitably linked together in a commitment, which may actually turn out to be their strong point.

Inside the symbolic containers which they are holding, under the mirrored surface a clever use of colour recalls the yearly cycle of the seasons.

These individuals carry with themselves the passing of time, the thoughts and hopes which change as time goes by. The crumpled white paper in the boxes represents a project to be completely rethought.

Stop is a manifesto concerning the loss of identity in the face of unemployment and when basic human rights are ignored.

Political, economic, and social aspects must be reconsidered as well as the expectations of man in society.

This is a cry for help which derives from the grief and desperation felt by the two characters, who still cling to beauty and appearance, but are unsure of what the future will bring.

The group of works called "Communication" (X) is a reflection on the power of words and the function of communication in today’s volatile society.

Words are infinite combinations of letters, they are fragile, they fly away, they have  great revolutionary power but can also be destructive.

These works raise questions about the mechanisms operating at the basis of the new modalities of online communication, the power of the network to spread messages, the words that disappear and the ones that remain and have the ability to make great changes or create ephemeral hopes.

In playing on the duality of the value of words, whose effect varies depending on how they are used, greatly anticipating and glimpsing the potential of digital and online communication, these works reflect on the meaning of what is private but becomes public, of the net as a constantly present form of communication, a medium so fast as to create an illusion of that freedom on which our thoughts should dwell.

These ideas appear later in the large installation entitled "Communication. THE END ", (X) where the message,  from being intimate and private, becomes public and immediate. The structure is a large cage, inside which there is a mobile phone and a video projecting images of a seemingly pleasant and illusory happy time.

What are the limits of freedom, and where do they start? What are our limitations, as far as we are aware, how much are we part of them? Just look up, and observe with a certain irony the image and the sounds made by the birds perching on the structure but which are ready to fly away.

The theme of freedom is later expanded in the sculpture As Well as, (X) reflecting on the liberty of the individual in the Kantian sense of the ability to make decisions and the courage to use one's own understanding without guidance from others. Making use of our own intelligence, putting it to the test, educating our minds to stride out purposefully, looking beyond, ridding ourselves of personal and social ties in order to reach a complete realization of ourselves in the world.

The attentive and analytic eye of the artist towards the individual and his potential in contemporary society, takes the form of XYZ (X), in the context of the super-fast society of the 80s and 90s, accelerating towards today’s globalized world, this world of rapid information exchange and immediate decision-making.

Man, forced towards new scenarios which he is unable to face, is represented in this work by a medieval head with symbolic influences deriving from different cultures. It  shows signs of drug addiction, perhaps to cocaine, which inititally speeds up mental faculties. Drugs heighten the senses  but at the same time cause deterioration of certain parts of the body and limit reasoning.

A nail, originally present in the sculpture and acting as a warning, blocks brain activity until eventually this is cancelled out, until it reaches the end, that is,  XYZ. There is nothing further to be done.

Drug usage has led us to the point where we can no longer see beyond our own nose end, there is a total lack of perspective. The dynamic quality of the sculpture, the base which moves and hypnotizes us with alternating flashing lights, first sparkles then pulsates, leading to confusion, that same confusion experienced by man,  who hides things and believes he can control what in the end has already been lost, i.e. himself.

ART | HUR, (X) combines ancient references with symbols of modernity, it contaminates its religious aspects through signs pointing to the economy and the current market situation.

The sword evokes values ​​such as loyalty and honor, in a movement reminiscent of dizziness, while in the mirrors the sacred image of the  child is multiplied through the use of filaments representing human conflict and wealth, symbolized by coins coming out of his belly and a gold necklace that could actually become a noose.

That same image is found in the baby doll crying blood-red tears positioned at the top of a structure, which seems to be made ​​up of diamond-shaped spears in an upward movement leading to questions about the meaning of power, wealth, faith and the power of communication, in an extremely symbolic and ironic way.

Influenced in his architecture by the Metabolistic school of thought, the inevitable incentive towards the construction of forms within space has led to create a series of works, metabolistic architectures (date) combining elements of fantasy on architectural structures which hark back to the aspirations of the builders of great cathedrals over the centuries.

The sculptures recall places of worship of different religions, symbols of faith, but also of  grandeur, wealth and the contradictions of religious power which for many years were minimized.

Through mirrors, the symbolic use of color, cascades of pearls, and the hardness of the steel elements, we are faced with questions regarding  temporal power and the deeper meaning and inspiration of religious power throughout history.

In Fantasie metaboliste, a series of works dated ... (X) a sense of freedom and imagination prevail as key moments in the path of self-creation and the elaboration of man’s thoughts. The sculptures are created from a tangle of wires resembling the  nerve endings of the human body, and they are clustered around a central body to form real circuits that transmit energy and lifeblood.

They are an explosion of unpredictable shapes, color and energy, conveying the idea of ​​movement, dynamism, the exchange and elaboration of thought in an accelerated motion.

These tangled wires have tips ​​of different colors; they create stable forms that light up and change according to the pulsations of a sphere inside this mesh , an element reminiscent not only of the original pulsations of a metropolis but also, on a reduced scale, those of the individual, the dynamism of human thought that evolves and changes over time.

Through the associations of ideas and increasingly surprising developments, gfq has created a map depicting globalization in People 'Globalization, (X),  a large-scale sculpture that recalls a multitude of people  extending up towards the surface like the branches of a tree, to encounter other roots. Globalization is understood not in the sense of the approval and elimination of diversity, but in the broad sense of an encounter, a potential growth of new, more and more different realities. The work is developed on both sides, and the encounter of the multitudes of people is overlapped by symbols and geographical world maps, in constant motion and transformation.

The series Wall. Are they confetti? (X) leads the observer to a double interpretation. The surfaces are colored, worked on both sides, engraved with bright colors, which apparently refer to a festive world of confetti and party streamers. But at the same time these are walls, elements that symbolically divide, enclose, and circumscribe a space.

Thus these elements, from representing an atmosphere of joy, become symbols of violence. Seen in a different light they become gunfire, they represent the suffering of conflict and war.

The wall becomes a sort of frontier to be broken down, leaving new spaces to conquer and a desire to move on, in the same way that the crack giving a glimpse of light, encourages us to take a broader outlook, confident about tomorrow.

Symbolically fire, the theme of the series Bonfire, (X) is an ancient sign ​​with its strong values of unity despite diversity, a symbol of reconciliation and strength. The sculptures open up like huge lotus flowers and  have multiple references.The bonfire is a good luck symbol of aggregation, catalyzing explosive energies. It is a hypnotic element, a shape recalling the traditional role of fire as something magic, purifying, able to transform and regenerate. Fire engulfs the old and creates heat and energy. It is the symbol of the elimination of distances, which become lost and dissolve into a return to nature through optimistic and creative thought.

The same glow is found in Alchoholic, (X) a hymn to dance and movement as a moment of liberation, playfulness and ritual.

Dancing, moving, feeling the rhythm, are elements shared among all  peoples of the world, they transcend the boundaries of cultural differences and distance. This sculpture celebrates dance as a form of suspension, lightness, memory and pleasure. Dynamism, color, the elimination of distances, rhythm and light characterize this large sculpture which also explores the sense of pleasure by creating new neural pathways in the brain, initiated by sounds and the pleasure found in dance and movement.

The three blades opening up vertically are designed to undulate like a dancing body, a movement that becomes three-dimensional and in which the white components and transparent parts symbolically represent the flow of life. Red is the sense of limitation, and at the base of the sculpture there is a reference to fire and vitality, transforming until eventually it is extinguished.

Belonging to the most recent of the artist's works, it is a large-scale installation named 10+1 commandments (X) which can be interpreted as a proposal, a concrete need, a global and collective reformulation of new codes of behavior in an economic, social and cultural context of great change and thought.

The theme of enjoyment and play is seen by gfq as an essential part of man, an "oasis of joy", (X) a moment of suspension and freedom, a magical space in which reasoning and self-control are replaced by a sense of discovery and novelty.







10 +1 commandments

oasis of joy


Fantasie metaboliste

As Well As

Great Complications




TT 02|09|11

Metabolistic architectures

People ‘Globalization

Communication. THE END