The emergence of beauty
The forging of materials and the formation of awareness run in parallel in the complex creative processes of Palù’s artistic creations. The materials in his concrete installations depicting primordial magmas forged by fire are composed, formed and coloured to express the suffering of creation. Behind the profound and striking immediacy of the beauty and harmony of his works lies the genesis of the events shown in rigorous, clean and essential forms, and detailed through the lacerations of nature, the extroflections and the sutures. Suffering in Palù’s works is represented as if in Greek tragedy, where true suffering is a passion for design frustrated by the limits of the physics of matter—the tragedy that lies at the foundation of generating any work of art. As Borges points out, tragedy is a catharsis which leads man, in the words of Aristotle, “from ignorance to knowledge”. The divisions, fragmentations, and imbalances which confront the themes of evil, pain and fear in Palù’s works are testimony to the process of artistic creation—pain-awareness-beauty. In his The Birth of Tragedy, Nietzsche reminds us that pain is the most important thing in life—suffering causes the birth of true beauty. Palù’s approach is highly refined, rooted in the soil of architectural culture. Pure knowledge has led him to form sculptures in which the quantum aesthetic asserts itself. They are to be read in the refractions of light that emerge from the folds of the materials.
From a text by Fabio Morandi
The relation between sculpture and architecture
Sculpture and architecture reveal Giorgio Palù’s essential dualism. Even more they show the profound self analysis he undergoes in expressing viscerally performative instincts or austere designs. These two aspects are in constant balance, at the cost of constant reciprocal sacrifice. Indispensable to sculptural analysis is the creative/destructive stimulus found in Nature; whereas the essence of architecture proceeds from a development of volume, which is closely aligned to the simplicity of pure geometrical form, to the integrity of materials never qualitatively distorted, and to the essence of linear design drawn by the natural gesture of the hand. Nature becomes the protagonist par excellence to the extent that Palù obeys its perfect and inalienable structural rules, while at the same time following a fundamental humanist goal. Like a basic element on which to generate the proportion of lines and volumes, each work reflects on the presence of the human being as an active agent, rather than as a mere bystander. In fact, through persistent material analysis—in addition to technological research recognising the indispensability of innovation and experimentation—each architectural work breaks down the imaginary boundary between structure and environment, defining space by indulging in a tight symbiosis of adaptability and functionality, aesthetics and rigour.