Concept
Summary Lorenzo Cambin prefers in his works the use of non-"sophisticated" materials such as wood and stone, which combine the natural-atmospheric elements such as wind, water and earth. For Cambin, the work of art flourishes, unravels in the nature that generated it and feeds on the dynamic forces it sets in motion. His is a return to naturalness as an existential matrix, a journey to the origins, from which the urban being has moved away. Even and above all, the random element, whether by nature or by man, intervenes in Cambin's expressive language and regains its own importance. Introduction Lorenzo Cambin's work contributes to a new definition of figurative art, because his sculptures operate by transforming the perception of reality without changing it. First, because, beyond any sculptural work that occupies space, they tend to internalize it in the work itself, thus establishing a dialectical relationship between the interior and the exterior from the moved boundaries, a relationship sometimes of opposition, sometimes of harmonious fusion. Second, because the use of common materials such as wood, water and stone in works exhibited outdoors create a nuanced contact with nature, integrating and becoming that part of it that emphasizes the aspects captured by the artist's sensibility. Moreover, because despite the formal care and attention to detail, the result of long preparation, which is immediately striking, the viewer immediately perceives that these are in all cases deeply lived experiences, thus grasping a sublimated message that goes beyond the sensitivity of the intellect, but awakens almost ancestral associations of ideas and feelings.
This reading of Lorenzo Cambin's work extends to various levels that dialogue far beyond those mentioned above, which represent only examples of a not always happy application of the critical analytical method, which necessarily shows its limits in the context of an art that has global ambitions. But even in its lack of critical completeness, this paper can, if nothing else, demonstrate how the difficulty in objectifying the apparent dialectical complexity of Cambin's work disappears in the face of the simple message of the work itself, which, originating precisely from the close relationship between content and container, between form and substance, between spatial syntax and artistic semantics, bypasses for an attentive observer the rational barrier and stirs appreciation at the deepest perceptual level.
Denis Baggi Maquetta del Mondo Without abandoning his work on the sign, Cambin today seeks to incorporate an idea of "nature" into his own artistic making. Nature already enters the creative process when the author, walking in a forest, picks up branches or stones as "already made" pieces that could serve for some composition. His sculptures are called SPACES, because there is a relationship between the part and the whole, in a dialogue that creates movement and presence. His work is the result of extremely meticulous work whose goal is to place what is aerial in balance with what is terrestrial: splinters of wood, wire and bamboo canes rise into the air in positions only possible through the juxtaposition of lead and stone. By simulating the growth of the vegetable from the mineral, some recent SPACES propose an essential and profound imitation of nature. Cambin's works, the more dreamlike and organic ones, draw their origin from a "forest engineering," from high-precision architecture; in his artifacts there is no meaningless movement, no superfluous belleza.
Echoes of Duchamp in the taste for recycling, of Tinguely and Calder in the game of balance-movement, of Long and Nash in the vision of nature, but above all an Aristotelian reference to the four elements and to an underground way that nourishes the air. Lorenzo Cambin makes SPACES that are also objects, construction games, plant archetypes, in short, an architectural model of the world. Clara Gary-Aquileia
