Pietro Consagra was a man who lived for sculpture, to which he devoted all his
thoughts and energies. For this reason, his artistic production was accompanied by
commitment to theoretical writings in which he gave effective expression to the
cornerstones of his sculptural approach. “I think that all sculpture must come to
terms with frontality.” (CONSAGRA, 1980, p. 142) In the 1950s, in an attempt to establish a clearer and more direct dialogue with the viewer, Consagra designed his sculptures to be seen solely from the frontal viewpoint.
Freeing himself from the imposition of three-dimensionality, the artist freed his
works from the weight of tradition to concentrate on the essentials of his artistic ideas. Over the years, as attested by the work exhibited here, an element of ambiguity was introduced so as to enable the public to take up a position and make a choice: “The new sculptures will now be dual, bifrontal.” (Ibid., p. 144).
(Transl. by Paul Metcalfe per Scriptum, Roma) Bibl: P. CONSAGRA, Vita mia, Milano 1980.