The Curator

The compositions take and acquire a support, a base, a plinth that rests perpendicularly to and on the material, the extensions, the folds, the taut arrows of the diagonal surfaces are indications, and tentacular forms of “exit from the material”, performed and made to move away from weight, to express the flight of volumes, the torments of imagination.

His sculptures stand out as a language accessible to all, and we understand him, because in reality they are not physically weighted, heavy or referential sculptures, simply because they express the invisible, even if they bring us many concrete examples, apparently, they deceive us, they make us experience a world apart, the world of the artist.

We have rarely been able to see, devise and visit similar forms, we cannot mention other masters to indicate the particular path that our “sculptor” has taken, admitting that this definition may still be valid for his “sculptures”, because we are actually confronted with spatial volumes of unexpected range, as if to say: here it begins and here it ends!

When in reality we must well recognise that creativity is difficult to transmit, but here Antoine Farrugia takes us as witnesses, and makes us react: his proposals are valid, and we are happy to have discovered them, read them and with a somewhat presumptuous attempt, to have interpreted them. How could we have determined or interpreted those volumetric categories in which it is correct to perceive a work, an autonomous work, a work of art? For us all the circumstances indicate to us that it is more correct to read, perceive and interpret a work of art in the category of pure inventions, where we do not see masters - kinetic sculpture, assuming that this definition can be applied to his sculptures - it is not pertinent, because the sculptor, without being such, possesses the qualities required to be considered as one who works “space” with volumes, and therefore closer to Rodin’s tradition rather than Picasso’s. Sculpture manner and categories, as well as music, are based on volumes, or notes that are known and practiced using hands, in daily life, in the same way our artist thinks and creates a work, produces it and presents it with the same human categories of knowledge, practice and intrinsic realisation, with the material he elaborates. It is therefore correct to think that the works presented here are real sculptures, and the resistance of this procedure is inherent in the passion that visually characterises a message formed with the hands through a project considered “without limits” and immersed in the artist’s life.

The sculptor becomes a model of his passion.

The Works