We’re excited to introduce you to the always interesting and insightful Luciano Garbati. We hope you’ll enjoy our conversation with Luciano below.
Alright, Luciano thanks for taking the time to share your stories and insights with us today. We’d love to hear about a project that you’ve worked on that’s meant a lot to you.
In 2007, I made the decision to create a work inspired by the myth of Perseus and Medusa, a tale that had intrigued me since childhood and had left a lasting impression on me through the captivating artworks I had witnessed during my time in Italy. It wasn’t long before I honed in on Medusa herself—her penetrating gaze, her narrative, and the emotions she evoked, particularly in the later renditions of the Metamorphoses. By 2008, my sculpture, portraying a resilient Medusa, had taken form, capturing her survival shortly after the conflict with Perseus, her assailant, had been resolved this time in her favor. My intention was to convey the emotions accumulated over a lifetime of enduring injustice, the weight of an impossible gaze, which sentenced her to an inevitable, desolate solitude, and her steadfast resolve to defend her integrity against the relentless assault of those who sought glory in her demise. Little did I anticipate that, a decade later, my work would resonate with such a wide audience, propelled by the virality of a Facebook post. Nor could I have imagined, as I sketched the initial concept, that this piece would mark the beginning of a significant journey, with its first showcase in one of my most admired cities and that it would be this very city that would offer it a public space. In 2019, we submitted a project for a public exhibition as part of New York City’s Art in the Parks program, aiming to explore the possibility of displaying our work to the public. Alongside Bek Andersen, we selected Collect Pond Park, positioned directly opposite the New York State Criminal Court, as we felt it was the perfect setting, given the predominant sentiment on social media associating it with a form of poetic justice from a predominantly feminine perspective. The sculpture was chosen, and by 2020, amidst the challenges of the pandemic, it stood proudly in the park for ten months, transformed into a stunning bronze figure (the original sculpture was crafted in polyester resin, a more economically feasible material). The exhibition made waves, particularly due to its resonance with the MeToo movement and the recent conviction of producer Harvey Weinstein in the same courthouse. Controversy inevitably arose, yet amidst the discourse lay a healthy exchange of perspectives, overshadowed by a profound emotional resonance. Countless testimonies poured forth, each a testament to the sculpture’s ability to reflect a feminine gaze fixated on justice, a fervent desire that resonates powerfully in our era, fostering hope for tangible societal reform towards a fairer, more equitable world. The sculpture was recently featured in an exhibition in Caen, France, alongside works dedicated to Medusa and her representations throughout art history, including Benvenuto Cellini’s original sketch of his masterpiece: the Perseus in Piazza della Signoria. Rodin, Bourdelle, Giacometti, Rubens, and Burne-Jones were among the other artists exhibited in what emerged as a recognition beyond my wildest aspirations. The sculpture is now in Düsseldorf, Germany, waiting for the next path of its unimaginable meaningful journey.
Luciano, love having you share your insights with us. Before we ask you more questions, maybe you can take a moment to introduce yourself to our readers who might have missed our earlier conversations?
My journey into the world of sculpture began in my early years, as drawing quickly emerged as a powerful passion among my interests, evolving into an unwavering pursuit. As I entered adulthood and explored its expressive possibilities, I found myself contemplating the idea of turning it into a career. This led me to enroll at the National School of Fine Arts, where, after five years of study, I graduated, having already discovered sculpture and chosen it as my primary expressive medium. Following my graduation, I furthered my education by attending various courses, both in Buenos Aires and Rome. Supported by grants from the National Endowment for the Arts and the Italian Cultural Institute, I also ventured to Carrara, Italy, where I delved into the traditional techniques of stone carving and other disciplines that enriched my aesthetic approach to sculpture.
My work is a continual dialogue with the traditions of figurative sculpture, with a particular focus on the Italian legacy. Drawing inspiration from the realm of imagination, I use it as a springboard to explore my own visual poetics. In my quest to crystallize the essence of any form of “vocatio,” I transform my imagery / figurative language from a personal symbolic acquis to constitute a rarefied mythical repertoire.
For you, what’s the most rewarding aspect of being a creative?
I would say that the most relevant aspect for me is the ability to move others. Our work possesses this peculiarity; those of us dedicated to producing works in the realm of expressive aesthetics strive for ‘listening’; we are driven by the desire to be heard. As a spectator, I find it fascinating that a body can vibrate, that is, resonate from the encounter with a work of art. What occurs in that encounter (when it happens) is an emotional alteration that stirs something within our sensibility, a connection with the unconscious that sometimes, even unnoticed, leaves in suspension the possibility of a future elaboration. We may be aware of it or not, but that experience has the potential to transform us.
I had the privilege of experiencing that firsthand as both a spectator and a creator of a piece of art. In that sense what I received in return from the encounter with my Medusa was absolutely overwhelming.
Can you share a story from your journey that illustrates your resilience?
My journey, like that of most artists, especially those of us who reside in Argentina, is a demonstration of resilience. Ours is a country with a very small art market where it’s truly challenging to get ahead. “Success” for each of us simply means continuing to produce our art because the difficulties are so many that it’s easy to fall into apathy, into a sense of aimlessness capable of absorbing all productive energy.
Right now, I find myself without a studio, the essential tool for a sculptor, since without a specific space for production sculpture becomes impossible. It seems unbelievable to be going through this situation after so many years, yet here we are. The country is experiencing its worst crisis since 2001, with consequences that we still cannot foresee. Frankly I’m not sure if I’ll manage to rebuild my own space to dedicate myself to my work; all I know is that there’s no alternative but to keep trying. Artists are resilience, our strength lies in stubborn persistence because the driving force behind us is nothing but desire.
Contact Info:
- Website: www.lucianogarbati.com
- Instagram: @lucianogarbati
- Facebook: Luciano Garati
- Twitter: @garbatiluciano
Image Credits
Luciano Garbati