Ugo Riva - The Angel

The work in question uses a figurative artistic language. One of the most important concepts in the history of artistic production has been that of "mimesis," or the human need to imitate and reproduce nature, that which surrounds us. Nature refers to everything that can be grasped through the five senses—in short, phenomenal reality. Figurative art trends can be considered those that, in the representation of the world, adhere most closely to this objective and sensorial dimension, leaving little room for abstraction and subjective interpretation.

Throughout his career, Ugo Riva's research has focused on recovering the art of the past and reinterpreting it with a contemporary sensibility. In particular, Riva has always held classical, Greek, and Roman art as a model. In this Angel, however, one can see how Riva's citationism has no pre-established boundaries and can also draw on medieval art. The statue in question, in fact, displays a certain Gothic sensibility, primarily in its slender and elegantly elongated proportions, but above all in the curvilinear tension that pervades its figure, reminiscent of the typical "curly" structure. Riva does not fail to reconfigure his model, applying his own personal poetics of the "unfinished," leaving the statue's surface rough.

Ugo Riva, a sculptor from Bergamo, has always favored figurative art throughout his career. Starting with a study of ancient classicism, he developed a masterful technique in the naturalistic rendering of subjects and anatomical precision. His attention later shifted to contemporary sculptors such as Manzù, Arturo Martini, and Marino Marini, developing a quest for expressionist values ​​and a poetics of the "unfinished."

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