Since the 1980s, the artist had already introduced steel as a support for his discoid structures. In this period, he matured the idea of involving materials other than glass in his artistic language. He reconsidered steel, transforming it from a support for his artwork to a protagonist of his creative process. From this new tension, interesting works materialized that, by virtue of the ideal union, assume more complex configurations attributable to a more authentic and undeniable sculptural character. As a result of this new tension, the works increasingly adhere to the sculptural needs, which the relationship between form, volume, and spiritual content must support.
…sculptor Livio Seguso is one of the foremost important figures in contemporary glass art. From the first moments of encountering his glass sculptures, I greatly respected this artist. His work combines intellectual rigor with poetic imagination in an ideal unity, revealing an artist with a sincere expression, with fundamental ways pervaded by a refined sense of elegance and clarity of volumes and lines, which gives a rhythm to sculptural profiles. From here also derives light’s dominant function in Seguso’s creations.
Jiří T. Kotalík, art historian, director of the National Gallery Prague