In the work of Loris Cecchini (born in Milan, 1969), photography, drawing, sculpture and installation combine to form a unified poetics . Cecchini’s work owes as much to his expertise of a broad range of media as to his indefatigable curiosity. The subjects that appear in his work include multiple collages and detailed architectural models, objects in rubber, reinvented caravans and tree houses, structurally distorted spaces, and prismatic, transparent covers and surfaces.

His series Monologue Patterns are idealized dwelling systems on wheel, small spaces designed around the idea of caravan, the trailer, the roulotte, a nomadic space for definition, combining sculpture and the tradition of utopic architecture to form a spatial and visual - poetical experience; some of them are up on the trees, with different characteristics, but always as places related to a sort of “poetical distance”.

Incorporating elements from various interdisciplinary fields from chemistry to groundbreaking technologies, his work playfully investigates the limits of creation generating a continuous detection of exciting art outcomes whose definitions are ever changing.
Biological metaphor and motion represent core philosophies behind the artist’s investigation and fundamental basis in his projects.
His Wallwave Vibration series or what the artist refers to as ‘extruding bodies’, a physical manifestation of a pulsation resembling a fluid’s whose balance has been disseminated to form a delicate electromagnetic wave. With these works, the context of the space is transformed and fragility is incorporated within the supporting structure as the artist simultaneously uses space as a subject and material, establishing at the same time new definitions of sculpture.

Cecchini has continuously introduced the concept of the organic element as a central element of his work, in part as an exploration of the idea of the object and its inherent materiality but also as a minimalist practice. Acting with the lens of a scientist, Cecchini closely examines his modules initially starting with basic 3D or watercolor studies moving forward toward the particularity of natural elements
Cecchini’s module-based installations, a calculated chain of stainless steel elements originating from his preliminary inquiries again using organism, as a leitmotif in his work to address the intricate evolution of art in relation to sciences. In a wide range of works, Cecchini join together his steel modules to form a semblance of climbing plants, corals or crystals structures, organically deriving in an array of bewildering trails contrasting the deliberate intention of the propagation.