Favouring sculpture as a means of representation, Alessandro Vizzini bases his artistic research on the process of landscape observation and the reworking of such scenarios by exploring and overturning the drifts of the modernist relationship between human beings and the habitat they are part of.

Favouring sculpture as a means of representation, Alessandro Vizzini bases his artistic research on the process of landscape observation and the reworking of such scenarios by exploring and overturning the drifts of the modernist relationship between human beings and the habitat they are part of.
Vizzini's works share strongly distinctive formal qualities, in which the object essence of sculpture is enlivened by the narrative aspect it contains. Temporal effects on visual matter and the presence of man as a privileged observer of nature are the central elements in the artist's work.

Favouring sculpture as a means of representation, Alessandro Vizzini bases his artistic research on the process of landscape observation and the reworking of such scenarios by exploring and overturning the drifts of the modernist relationship between human beings and the habitat they are part of.
Vizzini's works share strongly distinctive formal qualities, in which the object essence of sculpture is enlivened by the narrative aspect it contains. Temporal effects on visual matter and the presence of man as a privileged observer of nature are the central elements in the artist's work.
Moving between present, past and future, and creating a bridge between projected and pre-existing objects, the exhibition – the title of which transposes the forms in the exhibition into letters –, proposes a kind of metaphysics of reality nourished by material and spiritual fragments of the Mediterranean. Each work represents a specific subject in the landscape, reworked through a psychogeographical approach – a practice in which the effects of the geographical environment act directly on the emotional behaviour of individuals. The exhibition itinerary, which is articulated in 'devices for the imagination', includes works like fragments and ritual relics, capturing the viewer in the relationship between a physical and a psychic dimension. Pareidolic perception – which tends to lead back to known forms objects or profiles of random shape – and the accompaniment that the sculpture provides to the imagi- nation are traces towards the dreamlike and narrative reconnection that weaves dreams and myths, in the transformation of our knowledge and the environment in which we are immersed.
Through a series of works from 2017 and a body of new works, Vizzini offers a negotiation between human vision and its cognitive construction and decoding operations, showing the illusions of human memory, the fictions of reality and the end of nature as we know it. The unconscious, dreams and their projections enter into the structure of the exhibition as modes of observation, reflections and mirages, distilling in the landscape a reciprocal relationship of knowledge and infused communication, where empathy for the environment coincides with an attempt to reconnect with the formalising relation- ships of natural processes.
The project, which is promoted by Roma Capitale – Department of Culture, is the winner of the 'Estate Romana 2022 – Riaccendiamo la Città, Insieme' Public Notice curated by the Department of Cultural Activities.

Favouring sculpture as a means of representation, Alessandro Vizzini bases his artistic research on the process of landscape observation and the reworking of such scenarios by exploring and overturning the drifts of the modernist relationship between human beings and the habitat they are part of.
Vizzini's works share strongly distinctive formal qualities, in which the object essence of sculpture is enlivened by the narrative aspect it contains. Temporal effects on visual matter and the presence of man as a privileged observer of nature are the central elements in the artist's work.
Moving between present, past and future, and creating a bridge between projected and pre-existing objects, the exhibition – the title of which transposes the forms in the exhibition into letters –, proposes a kind of metaphysics of reality nourished by material and spiritual fragments of the Mediterranean. Each work represents a specific subject in the landscape, reworked through a psychogeographical approach – a practice in which the effects of the geographical environment act directly on the emotional behaviour of individuals. The exhibition itinerary, which is articulated in 'devices for the imagination', includes works like fragments and ritual relics, capturing the viewer in the relationship between a physical and a psychic dimension. Pareidolic perception – which tends to lead back to known forms objects or profiles of random shape – and the accompaniment that the sculpture provides to the imagi- nation are traces towards the dreamlike and narrative reconnection that weaves dreams and myths, in the transformation of our knowledge and the environment in which we are immersed.
Through a series of works from 2017 and a body of new works, Vizzini offers a negotiation between human vision and its cognitive construction and decoding operations, showing the illusions of human memory, the fictions of reality and the end of nature as we know it. The unconscious, dreams and their projections enter into the structure of the exhibition as modes of observation, reflections and mirages, distilling in the landscape a reciprocal relationship of knowledge and infused communication, where empathy for the environment coincides with an attempt to reconnect with the formalising relation- ships of natural processes.
The project, which is promoted by Roma Capitale – Department of Culture, is the winner of the 'Estate Romana 2022 – Riaccendiamo la Città, Insieme' Public Notice curated by the Department of Cultural Activities.