arte orafa 084

Criticism of Guido Toffolo

« Souverain tailleur d’images », this title that the masters in the Middle Ages conferred to one another with an evaluation exmpt from every envy, would become wothy of him if the great Rilke had known L.M.Moreover man perceives reality through “ images “ offorms, lights, colours and impressions different from one another observer. The point of departure is always the reproduction of reality. Since we live in the middle of reality, every appearance of reality is part of ourselves and therefore it can be represented. Some artists represent it as they see it. They do not confine themselves to represent the natural reality, but they comprise it all, the human and the social ones. Their modernity stays in the different way they face the problem of the relationship with the reality. They realize, like Megiarin, that we do not perceive it as isolated fragments but feel it in its totality. Our eye objectively sees each detail on which it stops, butreason, neglecting the superfluous and comprises the reality in its substance, of which light is an essential element. From here the accuratestudy that the Venetian Artist has devoted to light and colour.His works bear witness, the severe eye would be able to snatch a sign in those figures less alive, less definite and clean.It is as if in the veins of the precious metal rose a vigor born from the depths of the earth. Almost the profile of a tree in timorous of waiting of the storms of march when the fruit and the fullness of its summer do not live anymore in its roots, but they have already come up slowly along the trunk on which the big winds will fal down. This simile is important also for another reason.It marks in Meggiarin’ s work, the presence of the gesture. That gesture which grows and little by little it opens with so much greatness and power as gushing out like a brook that flows light. A runic and dolomitic brook at the same time that seems to cross the surface of his work to overcome through a big temporal door, the whole span of the centuries, going beond ours and making for those that will come. In his works Meggiarin listens to his own inner being. Never has any work of art stayed so collected around the deepest part of his creator, so bended by his soul and again lifted by the goldsmith Meggiarin constitutes a whole that does not admit any integration. The sense of the not finished arises from a stubborn reflection, not from a spontaneous look.This is the way Meggiarin creates. He reduces to reality all the form and the figures of a Dantesque dream, he raises them from the vibratile depth of his memory and gives each the redemption of being a thing. He gives birth to hundreds of figures in this way. But the movements he discovers in the quatrains of the Supreme Poet belong to a different epoch; Meggiarin lets them rise againand they wake up the conscience of thousands of other gestures. While his hands, that ignore tiredness, do not stop: they continue, overcoming the world of the Florentine, to create new gestures and new figures. The Venetian Orafo, severe artisan, arrives at this dimension by crossing all the dramas of life: the abysses of love nights stand in front of him, the dark vastness, full of voluptuousness and of punishment, where, like an epic world, there is no place for garments, where faces are wiped out and forms reign.

"Anfiteatro Dolomitico" Silver Necklace 925 in yellow gold 18 kt with rubies and diamonds
made in 2002

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made in 2002