Testing effects, dancing reactions, Loris Cecchini’s new solo exhibition, offers a broad selection of the artist’s work, in which his research follows the physical features of plastic elements, transforming them, in a constant dialectic between art and science.

The physical phenomena become an optical and emotional inventory of the environment, and the natural systems are transformed into a stratified system of semantic relationships, with a view to picking up on the invisible processes of a synthesis between nature and culture.

The alternation of the works helps create a veritable “organism” responsible for generating a comparison between microcosm and macrocosm, which brings different aesthetic categories and the scientific environment together, and causes them to form close relationships.

Walls and objects subject to turbulence like liquid surfaces (Wallwave: Anatomy of a diagram, and Steelwave: Mercurial Chorus), the inorganic that becomes organic (Waterbones, Sentimental Seismographies, Confining forces, The peeling paints), natural elements continually hybridised, reworked by applying cognitive processes (of which sketching is a primary tool) (the various Collages, and Tavolo parallelo alla terra, Terra parallela al tavolo), restore the symbolic tension of a natural world in which man moves, builds, plans and achieves, in a slide towards the interiorised identification of the phenomenon portrayed. No longer seen as a catalogue of forms to reproduce, nature, considered in its constant transitory state of structural and metaphysical progress, is presented as an analogon of the creative process, from the observation of which it is possible to acquire formative dynamics with which to create independent and meaningful images, just like the forms of nature: the works become results and testimony of a process of growth and change.

This is evident in series of works like Waterbones, The developed seeds and Synapsis paradigms and micrologies, and, generally speaking, in all the modular structures designed and composed by the artist in a new spatial arrangement. These works gain consistency, progressively building emotional agglomerates aimed at a constant dialogue with space and architecture: an example is the recent project The Garden’s Jewel (on show with the relative drawings and model), a treehouse/sculpture installed 2/ permanently in the South of France. The individual works, analysed in their production, alternating arrangement, configuration, organisation, structure and order, create parallelisms which aim to transfigure abstract grammar and poetic anatomy, exterior phenomena of organic growth and storytelling, the world of molecular configuration and of the biological metaphor in the light of structural wonder.

Born in Milan in 1969, Loris Cecchini lives and works in Berlin and Milan. His work has been shown internationally, with solo exhibitions in prestigious museums including Palais de Tokio in Paris, Musée d’Art Moderne of Saint-Etienne Métropole, MoMA PS1 in New York, Shanghai Duolun MoMA of Shanghai, Centro Galego de Arte Contemporánea in Santiago de Compostela, Kunstverein of Heidelberg, Quarter in Florence, Centro per l’Arte Contemporanea Luigi Pecci in Prato and Fondazione Arnaldo Pomodoro in Milan.

Loris Cecchini has participated in numerous international exhibitions, including the 56th, 51st and 49th Venice Biennale, the 6th and the 9th Shanghai Biennale, the 15th and 13th Rome Quadrennial, the Taiwan Biennale in Taipei, the Valencia Biennale in Spain, and the 12th International Sculpture Biennale of Carrara.

Loris Cecchini has also taken part in collective shows all over the world, including exhibitions at the Ludwig Museum in Cologne, PAC in Milan, Palazzo Fortuny in Venice, Macro Future in Rome, Mart in Rovereto, London’s Hayward Gallery, The Garage Centre for Contemporary Culture in Moscow, Palazzo delle Esposizioni in Rome, Musée d’Art Contemporain of Lyon, Shanghai’s Moca, the Deutsche Bank Kunsthalle in Berlin and others. He has created various permanent and site-specific installations, particularly at Villa Celle in Pistoia and in the courtyard of Palazzo Strozzi in Florence, at the Boghossian Foundation in Brussels and for the Cleveland Clinic’s Arts & Medicine Institute in the United States, at Les Terrasses Du Port in Marseille, and, recently, at the Shinsegae Hanam Starfield in Seoul.