Giorgio Laveri Gun art pieces from our personal collection

Celluloid pottery

Giorgio Laveri’s sculptures tell of his passion for cinema, and they do it in different ways. There is the most explicit way, that of defining a glamorous and Hollywood world, which is represented in many shining evocative ceramics – lipsticks, fountain pens, films -, where each object corresponds to an ideal character, where each lipstick corresponds to a diva, like those of Fellini’s and von Sternberg’s films, to each fountain pen a producer, like those of the films of the 1940s, and where each film corresponds to a story to be invented, like those that all dreamers look for every day.

This portion of Laveri’s imaginary is more about the film industry than cinema as art: looking at the shiny oversized fountain pens, one immediately imagines powerful tycoons signing billionaire contracts sitting behind their endless desks in the studios of the golden age. of the seventh art. Looking at the lipsticks for witches and vamps, all different, all shining in their polychrome enamels, all statuesque and ideally scented, one seems to see all the divas of yesterday and today parading on an imaginary catwalk, gigantic, imposing presences, that overlook the cinephile sitting with his mouth open on the velvet armchair, entranced to gaze at those unattainable lips that go over those lipsticks once and again before going on stage.

The ones evoked by Laveri with his ceramics are fantastic scenarios: somewhat virtual and very glamorous worlds that instantly make the viewer shrink, who, assuming a Lilliputian dimension in front of the oversized ceramics, can finally realize how much pleasure a renewal can cause amazement, the same sincere childish amazement that the most naïve and sincere spectators had (even towards themselves), who once dreamed while leafing through Novelle Films, Grand Hotel and the many illustrated cineromanzi.

Laveri is a magician, or a magician, as you prefer. Without strange spells, with an essential technique that shuns any kind of baroque, he causes immediate changes of perspectives on the open scene, without ever resorting to artificial tricks. Everything happens before your eyes, without any deception: just a moment is enough for you to accept to enter the dimension that Laveri has previously chosen, to accept to enter that space of Wonderland, et voilà, that’s it, you are from on the other hand, you have entered the game.

It has been said that Laveri’s ceramics are playful, and this is partly true. But above all, even more than a playful dimension, Giorgio Laveri brings to the field an engaging dimension, able to temporarily tear you away from the space-time coordinates of real life, and to transport you for a few moments into his world, making you willingly accept its rules. and its geometries. Ultimately, this is a bit like what happens in the cinema, where everything works by virtue of a close pact between the director and the viewer at each screening. When you watch a film, you have to accept to live the fiction, believe in it, throw yourself headlong into that world, let yourself go without a net and without prejudice. Laveri’s ceramics require the same trust, which in order to activate their imaginative charge and trigger the memories, and sometimes the nostalgia, of those who look at them, need an unconditional trust in the strength of their imagination.

Those sculptures are there to tell, to awaken the desire to dream, the desire to still believe in fairy tales when grown up, and it’s not enough to just make yourself small to look at them from below up and be amazed, you also need to believe in them.

They are sculptures in which the magic of cinema and that of art are renewed every time. That magic is replicated in the statuary lipsticks that may have caressed the mouth of Garbo of Grand Hotel as of Gene Tierney of the Mysteries of Shanghai, which have lost nothing of their enamel, and which would not clash in the dressing rooms of 21st century divas, to testify to the their essence out of time, demonstrating that they cannot be pigeonholed into any category other than that of free imagination.

The same alchemy takes shape with the fountain pens, with the films, and with the Godfather pistol, also proposed in an exuberant oversized version, as befits an object that in the memory, in the fascinated memory, has changed the dimensions, seen with the wide eyes of the enthusiasm of the explorers of the great fictions.

But we were talking about the different ways in which the objects created by Giorgio Laveri tell the unconditional love for cinema and its myths. One way consists in estrangement, in artfully causing amazement, another in entering directly into the dynamics of making cinema, not of the cinema to be seen, but in that to be made.

Giorgio Laveri has a long experience in the film industry as well

He is also a director and knows all the tricks of the trade. Above all, she is very familiar with camera movements and optics, and this mastery of the craft of director has transferred her once again to her ceramics, to create a further spell.

The same sculptures that made us dream in the guise of astonished spectators in front of the spectacle of the immortal Hollywood myths, now we can experience them as if they were part of a film, and we with them. The sudden changes in scale of Laveri’s ceramics, the small lipsticks, the large ones, the enormous ones, make one think of a trolley, or perhaps even a dolly, the Godfather’s gun now appears as deformed by a wide angle, the exposed films seem to live themselves in the laboratory of the truka, in a continuous and irresistible game of mirrors, where in the end you no longer know where you are, whether in or out, if in one world or another, if you watch the film as spectators or if instead we are looked at.

Laveri’s spell has once again taken shape. And the most extraordinary thing is that it was created with simplicity, the one that only the most skilled manipulators of the imagination can achieve.

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