Doppia verità (copia e riflessi), 2020

Four plaster pedestals, each of which on a white plinth, are arranged along the diagonal axes of the room. Each pedestal bears an object: a gilt sphere, a natural rock, a metal polyhedron, and plaster fragments. On the ground, in the area circumscribed by the four equidistant pedestals, is a reflecting sheet engraved with the layout of the work itself. On top of the sheet and all around it are the scattered fragments of transparent plexiglas, like other fragments that recall the gilded frames of the two mirrors arranged on the walls of the room.1 The “double truth” mentioned in the title – a contradiction in terms since there is only one truth – calls into play the two antithetical situations that define the work. On the one hand, the geometric and regular order of the four pedestals and the objects they bear – “elementary and original forms that recall autonomous and incorruptible universes”, as the artist himself tells us. On the other, the drawing engraved in the reflecting square set down on the ground (the “copy” mentioned in the title) and the scattered fragments, which call into question the Apollonian integrity represented by the pedestals and the sculptural bodies. Similarly, the reflections in the mirrors on the walls, duplicating and multiplying the elements that make up the work, disperse the unity of the ensemble, amplifying the impossibility of establishing an absolute truth. In the interaction between the two opposing dynamics, the truth implodes and remains conjecture: its “duplicity” suspends the very idea of its existence.

1 The artist added the two mirrors on the occasion of the installation of the work in 2025 in a private exhibition space, the idea being to recall the effect of the Sala degli specchi in Villa Olmo in Como, for which the work had been conceived.