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Born in a forest of millennium oaks just before the eighties, Sylvestre has past most of his childhood climbing trees and observing nature.. and later on surfing waves around the globe. Sylvestre was a sculptor before being born, always with things and tools in his hands and his imagination would do the rest, extremely sensitive, perceptive and a bit shy.
He graduated at the Accademia Belle Arti of Carrara and worked then in various institutional art studios in Pietrasanta where he mastered his techniques of carving marble, especially monumental pieces and eventually created his own studio to make his own pieces. His sculptures are now part of public and private collections in the major cultural capital around the globe such as Paris, London, Rome, Amsterdam, Hong-Kong, Dubai… and Pietrasanta where he works and lives today.
His words:

“The World is energy, Life is energy, and so is Art.
I create sculpture to generate energy in your daily life, either in a Public Space or in your intimate space. I like to compare my works with classical music. The perception of Abstract Art is subtile. They are movements, like a sonata, a menuetto or a symphony, they are simple and complex at the same time and needs time to penetrate your mind, to get the emotions out of it. Art is an open source of energy, like a charger you have to plugin with the work and take your time to recharge, and I admit it is not the easiest thing to do today with the 2.0 generation lifestyle where everything is to @ and #insta…
My inspiration comes from the nature, life, movements and energy, observing people and animals, dancing, running, fighting and making love... it’s pure, dynamic and strong…Combining all this elements of nature into sculpture, I create a subtile balance between the positivity and the negativity, a circle of energy, so balancing the beauty of life on earth harmoniously with the massive destructive chaos and sadness of a certain part of humanity.
After all, my intention is to give a message of hope and positivity today, creating a better tomorrow.…
Love
Sylvestre - 2017


Download my Curriculum here

In the recent sculptures by Sylvestre it is possible to sense an important passage, and in his case probably inevitable, from shapes with an objective reference (amusing and unpredictable, as it can be the one in the shape of the edible “pasta”, notwithstanding dragged in the noble universe of marble sculpture) to the metaphysical level of pure form. It is an arrival point, because already in those sculptures, which blew out of proportion and re-shaped the most daily and “used” shapes of life, the aim was not the one of proposing the umpteenth neo-pop object, but the one of leading us to reflect and to enjoy of absolute elements, lines, volumes, light, shade, matter, elasticity, balance… It was inevitable, that these elements, which are the juice of any authentic sculpture, would find the way of being autonomous. If there is a reference to reality, now it follows the opposite way: are the plastic forms to recall to our mind the flight of a swallow, a dancing movement, the spirals of smoke, the curve of a hardly touched body. In this universe of thin, ephemeral, and elusive emotions, Sylvestre comes in with his usual talents, lightness, “spirit” (or better “esprit”, using a word that in his language has a long history), courage and taste of the adventure, love for the trade.
Every new sculpture is a challenge. The marble seems that has been more modeled than sculpted, with the same easiness of a paper sheet, but it is about that apparent simplicity, which is born from an immense work, a little like when we are surprised of the easiness with which an acrobat walks on a thread.
In our times the challenge is also represented by the great technical possibilities, which are offered to sculpture. The intuition and the initial idea can be carried on with the 3D drawing and print; to help in the further passages there are machineries and robots. It is outlined on the horizon a ‘Cyber-classicism’, where the forms of nature identify their mathematical nature in perfect and wonderful algorithms and hyperbolic paraboloids. Who will be the Polyclitus able to sculpt the “canon” of the III millennium? What is certain is that, on the following day of its creation, that perfect sculpture will entice its author to change the rules, to find new balances, to look for new ways.

Valerio Rivosecchi

Rome, February 2014