THE MASTER GIANCARLO BOSELLI
A great sculptor

I think we born artist, and I think that Giancarlo Boselli had the sculpture etched in the DNA. So the Art Institute of Castelmassa (RO) has only shaped his vocation, gave him also cultural awareness. It 'was the first test of his ability, especially in the section of metal where he specialized in the work of cheaser especially on copper, brass, iron.

Art, as we said, did not have to wait impatiently at the door of maturity, it didn’t have to forgive him because he didn’t want it as the main character of his life. But jealousy it has continued to call him to tease him in his spare time between work and chisel swing, the will to tell stories and values, premiums and commissions have become gradually more and more important.

Today we can say that his sculptures, true wonders which Boselli is more affectionate than the works of chasing, are second to these. I say this as the artist was born as a chaser: back in '52 he started to give, to write with chisels, awls and chisels, different hammers, his inexhaustible creativity, a strong and innate sense of poetry on the metal, which - I want to remember - is beaten only by the contours on the positive side, but hit and beaten by 80% downside.

And that metal gives life and plasticity to his hand so happy for shaping the subject. Yes, because the design is the canvas but he’s able to solve the problems to reach the final solution, because the sketch is the real link between the level of sensory experience and that of thought.

In the 90s he also adopted a new artistic language, a new strand that had the diktat model, knead. This time the clay took him to the sculpture, a discipline that sends he back to his roots. He uses the technical process on the metal sculpture, namely the merger. He uses the technique of lost wax casting, which involves the coating of a model made of refractory material. Heating the coating at 6500 in the foundry, the wax goes down from the holes by releasing a thin gap between the two land masses, which is poured the molten metal, which cools,generates the statue.

For the metal sculpture, the artist uses the technique of embossing, where the metal - previously laminate - is worked on a piece of lead or arabic pitch or beeswax with the horn of an ox, bred strictly Chianina, a technique which he still practiced exclusively in Italy and that he did rebound to hit the headlines with the national broadcast "Geo & Geo", a known cultural Rai3 format.

It is difficult to summarize three decades of pilgrimage for Italy and abroad including retrospectives, lectures, conferences, awards and recognition - many of his works have entered into important private and public collections from Austria to France, England, Holland Japan and boast the gloss critique people like Ganso Gabrosky, Giorgio Celli, Sgarbi, Casadei and university professors and experts of distinguished colleagues.

 

These decades offer the fertility and artistic depth reached by Boselli and they still write a great story of history, still governed by a controlled spirituality that comes from the Po. Our sculptor who teaches us like Pasternak, that in art as in life should be "always embark on, to something more, to perfection, launching and trying to get."