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.
Forma organica, 1987
Clear glass and stainless steel, 68×50×10 cm
Private collection
Design for the sculpture Forma organica, 1987
Unione ideale 2, 1987
Clear glass and stainless steel, 69,5×37,5×15,5 cm
Feeling, 1989
Clear and satined glass and polished steel, 78×31×27 cm
Private collection
Design for the sculpture Dialettica della luce 2, 1987
Dialettica della luce 2, 1987
Clear glass and stainless steel, 44×50×40 cm
Diffrazione composita, 1989
Clear glass and stainless steel, 71,5×33×7,5 cm
Private collection
Nuova immagine, 1991
Grey and clear glass, black Belgian marble, 90×65×12,5
Spazio luce, 1992
Clear glass, 41×37,5×5 cm
Private collection
…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