Wilhelm Senoner


His figures often sit cross-legged. They appear flat to anyone who only studies them from the front, without changing perspective. However, they do, in fact, boast unusual depth, an original dimension, which gives substance to their appearance. Wilhelm Senoner's sculptures are, "something which-writes Paolo Ricci-at long last breaks away from the wellknown moulds of Cubism, Surrealism, Constructivism and Pop Art which contemporary art has already digested" too much". In a kind of figurative oxymoron, the works of Senoner appear ambiguous and transparent, simple and complex, soft and sharp-cornered, cast and winning. Although not the only subject, the female figure is certainly the epicentre of Senoner's art, with poetry and inspiration. Starting from the gothic mould, Senoner pushes himself to embrace "ideal classicism", to use Rizzi's words again. Not by chance do his themes mainly depict human figures. And the setting for his works is no chance either, as they are always displayed on pedestals, evoking references to thestage. Another important aspect of Senoner's art is nature, namely plant and animal images. Through his world of plant and animal shapes, the artist shows a certain fondness for stimulating the observer's curiosity, not so much to lead it to an illusionist escape from reality but rather towards a seismographic surface on which to project whose aim is to contrast with the rational, paradoxically disquiting, tables of statistical data and risk calculations. The semantics of an ambivalent system are thus disclosed in the synthesis of emotion and reflection. Andrea Ferrazzi

San Gimignano
From 10/02/2007 to 08/03/2007
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