His biggest fear is they'll become knick-knacks.
Common fornitures placed without the proper attention, without the respect due to their astral and sacred nature, thanks to their vocation as witnesses of an elsewhere man is nostalgic and has no memory of.
Because of this, the figures of Bruno Lucchi live on pedestals that isolate them from mento not interrupt the dialog with the energies of creation. Without space this figures can't live. Because daughtres of the four elements. Air and earth form them, fire cooks them, air and light pervade them.
Air and light that drop from the glasswalls of the big, very light, happy atelier of the artist. Glasswalls that look the flourishing green of the historical park around the Imperial Grand Hotel Terme in Levico, once summer residence of Austria's Empreror Franz Joseph.
The study, where the artist works in, is all in one with the gallery where the inexhaustible production of Lucchi, sculptror, ceramist and deigner. A shelf full of art books and magazines divides the spaces okf the exposition from the areas dedicated to creation: ample working surfaces, two clay ovens (one big and one smaller), shelves occipied by figures in different lvoration states, tools in a disorder just apparently random, monumental statues that from the gardencareon the author's craft.
Who passes byb can find him here, busy at freezing in the clay an intuition, at chasing in the shapes perfection. They might be three, four, maybe five the provvisional that divide the idea from the final resoult, from reaching the final shape, perfect.
That which in addition to remaing clay will be also translated in bronze.
In lucchi's opinion perfection lies in the thin balance of disproportion. In that lifting tension that emanates to every single figure the momentum to reach desired and maybe never explored. The impetus that will reconnect it to the one that is set origin and finish. The cosmical armony.