SOMAINI’S SCULPTURES

In consequence of the profound shake-up that the notion of morphology is undergoing at the moment, where the Euclidean shape has given way to comprehensive structure, Space has gained importance, and Form banished to a back seat role, has weakened. It has lost almost forever what constituted its true quality: fullness. Going from a tridimensional Euclidean dimension to an organic topological summary, this fullness has lost too frequently that necessary rigour to express itself at its highest degree. Moving closer to Cantorian abstraction, all it was left with was an intellectual skeleton, hardly anything at all, if not even anything at all. It was a pleasure to find, after the last Venice Biennale, a great sensation of formal fullness in the work of art of the young sculptor Somaini, whose shapes, indeed, do not abandon those areas where freedom does not limit Invention. And when a sculptor safeguards all of this, we can expect great things from his work.
Somaini now takes his place among the potential great sculptors of tomorrow when the search for a different order will be in enormous demand from both sculptors and architects facing a saturation caused by an over excess of freedom in which painting has frequently been stranded, at the dawn of one of the greatest adventures in artistic possibilities. I have never found such a purely formal quality since the times of the monuments of Etienne-Martin’s great erotic-mystic pantheism in 1946. So, Somaini, we are looking forward to great things from you.

(From: Sculture di Somaini, Notizie, Associazioni Arti Figurative, Torino, 1959)