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    Clessidra, Giorgio Andreotta Calò
    TreccaniTreccani Arte

    Clessidra, Giorgio Andreotta Calò

    Woodcut hand-printed with Eugène Brisset press

    Woodcut hand-printed with Eugène Brisset press

    The limited edition Clessidra works in dialogue with the cycle of sculptures of the same name, created by Giorgio Andreotta Calò starting in 1999; they are bronze castings of a fragment of bricola, a wooden pole typically used to delimit the canals and moor boats in the Venice lagoon. The erosive and constant action of water over time corrodes the wooden structures near the lagoon surface, progressively thinning the central section until the upper part detaches from the base embedded in the seabed; this residual form is then traced by the artist. After creating two identical wax specimens, he creates a bronze casting and assembles them mirror-like, subjecting the matter to a final metamorphosis and fixing it in suspended time. For the construction of the graphic work, one of the wooden structures is cut longitudinally in the center, so as to obtain two mirror-like and identical surfaces. The two flat parts are inked and used as matrices for woodcut. Using a hand press, the two halves are printed on two sheets of Japanese Bunko-Shi, Japico paper. Subsequently positioned on their longitudinal axis, the two halves almost touch each other at the thinnest point on the paper cutting line that coincides with an ideal horizon of the mid-sea. In this way, a palindrome and specular shape is generated starting from the same wooden structure, which traces the conceptual operation of the sculptural process.


    2019, Hand-printed woodblock print on Bunko-Shi paper, Japico
    cm: 2 x (50 x 82,5 cm)
    Edition of 25 copies + 6 artist's proofs
    Each copy is signed and numbered
    The edition was printed by Litografa Bulla, Rome.


      Born in Venice in 1979, Giorgio Andreotta Calò lives and works between Italy and Holland.
      His research revolves around the dimension of the crossing, understood as a path of approaching the work, which develops through a process of taking fragments from reality and re-appropriating the landscape and its history.


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