 |
 |
 |
 |
 |
 |
 |
|
|
|
|
|
|
|
 |
 |
 |
Ilario Mutti has to be considered from the beginning like those films with a complicated plot, which are not easily understandable in depth, but only using a cliché or an inaccurate reading.
Superficially Ilario Mutti would be therefore a clever sculptor, coming from classical art and remained to defend the honour of a history, the only history held out in thousands of years to affirm the central rule of the Art of Sculpture, which exists as much as it is possible to go up and to reassess, to discover and to rediscover.
At a first sight Mutti should be placed into the main rooms of that kind of sculpture which, coming from the early of 1900s and having studied the form, from Renaissance to the nineteenth century, bows and presents again the clearness of a true style, above all, when it is connected to a palpable reality. Or, better, when connected to the function of that subject relaunched in the sculpture.
But Ilario Mutti is much more. Too many outstanding are the contracting forces, the vanishing point and the consistence point, sign of one furious conflict between the parts. He does not connote himself, on the surface, he comes to resume himself at the end. The future and the futurism of Ilario Mutti penetrate and increase in the daily dialectic between the ancient past and the close past. Mutti is the mediator of these two pasts and, when the duel with the less noble forces of the tension is finished, it is due to him the homage and the representation of an artist precursor and witness of the passage from the classical art unanimously elected and voted to the majority futurism, when it is to be majority, that is in certain favourable and passing seasons like this ours, after a long time of inertia and morass.
It is necessary to have men and artists with solid nerves, like Ilario Mutti, for pass in these times where everyone shoots from right and from left and what matters it is to get out alive and with strong mind, or better, consolidated to the future. Mutti is the closest one to the birth when, right at the birth, the effort is brutally spiritual.
Look at his horses! They are always waiting and giving birth to the horse of the future.
The sculptor sometimes hides the provenance, or rather, the ability to draw and, more rarely, to paint. The basis is deep, the complementary character is ensured, the search of Mutti is endless and, if you stop on the details, if you open your lens on the mane, on the tummy, around the neighs, on the nudes and the carts of our sky, then, you confirm yourself on the certain goodness of the “muttiana “ beauty, of his full-bodied progress, without uncertainty, according to an aristocratic humility.
Those who, like Ilario Mutti, brandish a futurism for a future staying with the inoxidizable forms of the life and, at the same time, render the new geometries of soul and space. According to an original certainty and respecting who respects you.
A right-minded sculpt like good-speaking, comprehensible and useful.
Tonino Zana
