Sculpture’s own hands
I have come to connect Pino Di Gennaro and his work to music and singing; in the years we worked together at Brera, every time I received a monograph or a catalogue of his, or even his book on techniques published by Hoepli, I was made aware of the polychrome liveliness in his materials, and the elements of a creative process that on multiple occasions has evoked the dimension of sound. His works, ‘mouths’ emerging and gaping from their surfaces, could be understood as harmonic boxes in which one can measure the vocal extension of art. Like the reeds of an organ, with the depth of an oboe and a clarinet, Di Gennaro’s sculptures acquire a musical beauty through their formal aesthetics.
Di Gennaro’s works allow us to both observe and listen thanks to the relationship between their structure and their exuberant colours, a relationship made possible by the focused, chiselled work and the patient joining of countless fragments: the solo cadenza and the symphony.