"Nature in itself fascinates me: the phenomenal organization of the movement of liquids, the shapes of leaves, the structure of seeds, the complexity of mineral forms... I observe them, and I let them point the way. What interests me is not imitation but listening: matter thinks through its configurations, and every form is already a form of knowledge. I look at the relationship between aesthetics and science, I draw from nature and work with it through other forms of knowledge, and in the end I try to create a shift, a poetic suspension."
What distinguishes Cecchini's modus operandi, especially in recent years, is the attempt to go beyond the 'epidermis', the purely aesthetic aspect of this nature understood in the broad sense, in order to discover, often through scientific means, such as the microscope, precisely the more intimate structures, almost the chemical bonds, and to make these the models of his works. And it is here that a deeper logic emerges: nothing in nature exists as an isolated element.
His series of modular sculptures becomes the clearest expression of this intuition: each element is complete in itself, yet reveals its meaning only in relation to the others, in the way it aggregates, branches, recomposes.
These works behave like complex dynamic systems: open, relational, in constant transformation, governed by the same laws of connection and interdependence that regulate the growth of a crystal, the branching of a plant, the aggregation of cells. Each part resonates with the whole, and the whole is never fixed, but always in the making.
We also understand how emotional the artist's approach to nature is, how grounded in inspirations and emotions, how analogical, how scientific. It is matter itself that possesses a capacity for metamorphosis that owes nothing to artifice: nature repeats itself, varies itself, rewrites itself continually in its forms. The artist materializes an organic idea through 'macro' compositions in the final aesthetic outcome, yet still 'micro', because they exist in molecular form. And perhaps this is where his work concerns us most closely: at a moment when we continue to think of nature as something to represent or to dominate, Cecchini reminds us that it is we, rather, who are made of its own substance, modules among modules, connections among connections. There is no outside. There is only an inside that keeps transforming, and art as the place where this transformation finally becomes visible.
What distinguishes Cecchini's modus operandi, especially in recent years, is the attempt to go beyond the 'epidermis', the purely aesthetic aspect of this nature understood in the broad sense, in order to discover, often through scientific means, such as the microscope, precisely the more intimate structures, almost the chemical bonds, and to make these the models of his works. And it is here that a deeper logic emerges: nothing in nature exists as an isolated element.
His series of modular sculptures becomes the clearest expression of this intuition: each element is complete in itself, yet reveals its meaning only in relation to the others, in the way it aggregates, branches, recomposes.
These works behave like complex dynamic systems: open, relational, in constant transformation, governed by the same laws of connection and interdependence that regulate the growth of a crystal, the branching of a plant, the aggregation of cells. Each part resonates with the whole, and the whole is never fixed, but always in the making.
We also understand how emotional the artist's approach to nature is, how grounded in inspirations and emotions, how analogical, how scientific. It is matter itself that possesses a capacity for metamorphosis that owes nothing to artifice: nature repeats itself, varies itself, rewrites itself continually in its forms. The artist materializes an organic idea through 'macro' compositions in the final aesthetic outcome, yet still 'micro', because they exist in molecular form. And perhaps this is where his work concerns us most closely: at a moment when we continue to think of nature as something to represent or to dominate, Cecchini reminds us that it is we, rather, who are made of its own substance, modules among modules, connections among connections. There is no outside. There is only an inside that keeps transforming, and art as the place where this transformation finally becomes visible.