
Sculpture often conjures images of museum masterpieces or ancient monuments, but the art form remains a powerful lens through which we explore contemporary society. In recent years, public sculpture has become a focal point of cultural reckoning. Across Ukraine, the removal of Soviet-era statues has marked a symbolic break from its colonial past, as the country redefines its identity amidst ongoing conflict with Russia. Meanwhile, innovative works like Jeff Koons’ “Balloon Dog (Orange)” sold for a staggering $58.4 million, highlighting the medium’s enduring value in the art market. On the flip side, absurdity still finds a place in sculpture: a banana duct-taped to a wall by Maurizio Cattelan at Art Basel Miami fetched $120,000 and became an instant social media sensation.
History continues to echo in sculpture too, as ongoing excavations in China reveal new insights into the awe-inspiring Terracotta Warriors, while 3D reconstruction projects bring the Buddhas of Bamiyan back to life virtually. Fashion also intersects with sculpture in fresh ways—at the 2024 Met Gala, designers showcased wearable art inspired by iconic museum works.
Ritratto, Gianfranco Meggiat
Adil Yusifov
Contemporary sculpture today occupies a fascinating position within the broader art world. While installations and digital mediums increasingly dominate the landscape, traditional sculptors find themselves balancing time-honored techniques with the need to remain conceptually and culturally relevant. Gianfranco Meggiato, a Venetian-born artist with a career spanning over two decades, has established himself as one of the leading voices in this evolving field. His work combines the tactile craftsmanship of classical sculpture with the philosophical exploration of modern life, engaging deeply with themes of ‘the unseen and intangible.’
Sfera Acquarius by Gianfranco Meggiato at Heydar Aliyev Center in Baku, Azerbaijan
Adil Yusifov
From his first exhibition at the Bevilacqua La Masa Foundation in Venice at just 16 years old, to monumental installations in iconic locations such as the Valley of the Temples in Agrigento and Piazza dei Miracoli in Pisa, Meggiato’s career has been marked by moments of awe-inspiring resonance. He recalls standing in St. Mark’s Square in 1979 as his first sculpture was unveiled, feeling as though he were “vibrating in the air.” Decades later, in 2020, he installed a monumental piece in front of the Temple of Concordia, a sublime Greek structure dating back to the 5th century BCE, describing it as stepping back in time. And in 2022, the surreal foggy dawn in Pisa, as he assembled another monumental work amidst the historic beauty of the Leaning Tower, felt “otherworldly.”
These milestones exemplify not only the depth of Meggiato’s artistic journey but also the way his sculptures resonate with their environments, connecting past and present, material and spiritual. Meggiato’s biomorphic forms and labyrinthine designs offer a response to the contemporary search for meaning. In a field where monumental sculptures can sometimes lose the intimacy of their original vision, Meggiato’s works retain a profound resonance.
Gary Scott-Irvine, a consultant to renowned art institutions like the Tate and Royal Academy, describes Meggiato’s creations as a rare blend of technical mastery and metaphysical depth: “Over the last few years, monumental sculptures have become more common. Yet what often happens is that the heart and soul of the original idea gets lost in the process of scaling. In the case of Gianfranco’s work, this doesn’t happen. His sculptures retain their essence because they originate from his inner energy rooted in nature and the cosmos.”
Meggiato’s sculptures do more than occupy physical spaces; they ‘shape dialogues’ between the visible and the invisible, the past and the present. His ability to remain deeply personal while addressing universal themes places him firmly within the canon of contemporary sculpture, a field increasingly reliant on art’s capacity to connect audiences to themselves and the world around them.
Il Volo & Attimo Fuggente Sculptures by Gianfranco Meggiato
Aziz Karimov
The Making of ‘Introsculpture’
For Meggiato, the process of sculpting is a tactile and intuitive journey. Eschewing preparatory sketches, he begins his works directly with the material, letting his thoughts and emotions shape the final result. This instinctive methodology is central to what he terms “introsculpture,” an approach that invites viewers to explore the inner dimensions of his creations.
Luca Beatrice, a prominent art critic and curator, has been a key figure in Meggiato’s career. Their professional relationship began over 15 years ago when Meggiato sought Beatrice’s critique of his work. This initial exchange blossomed into a collaboration rooted in mutual respect. Meggiato recalls: “We met with Luca Beatrice more than 15 years ago. I had asked him for a critique of my works. Thus was born the collaboration based on mutual respect. In fact, I invited him to curate my first large monumental installation in the Marca museum in Catanzaro in 2017, The Garden of the Silent Muses.”
This installation, a monumental 20-meter diameter composition featuring 4,000 jute bags and eight sculptures, was conceived during a time of heightened terrorism in Europe. The artwork symbolized resilience and creativity amidst adversity.
Luca Beatrice captured the spirit of the project in his poetic assessment:“Not soldiers stationed behind sandbags but sculptures: The Silent Muses. After inspiring poetry, the Muse defends it, the last bastion against barbarism and death.”
Their collaboration continued into 2024, when Beatrice curated the Azerbaijan pavilion at the Venice Biennale. Recognizing their shared vision, the chief curator invited Beatrice to contribute a text for the catalog accompanying Meggiato’s landmark exhibition, Lines of the Invisible, at the Heydar Aliyev Center in Baku.
Anar Alakbarov, director of the Heydar Aliyev Center in front of work by Gianfranco Meggiato.
Adil Yusifov
Conversations with Gianfranco Meggiato
Q: What inspired your Lines of the Invisible series, and how did you conceptualize the theme of the invisible?
Gianfranco Meggiato: Even if we may not realize it, a very large part of our lives is conditioned by what could be defined as “the invisible.” From the electricity we use every day but cannot physically see, to the new theories of quantum mechanics, and even dreams and feelings—so much of our reality stems from forces we can neither see nor touch.
This exhibition seeks to give space to the “invisible” by displaying something that paradoxically is not invisible, such as sculpture, based on my interpretation of the theme. Even the Heydar Aliyev Center, with its fluid and harmonious forms, represents the invisible made visible—the dream of Azerbaijan’s transformation. It reminds us of the need to believe in the power of dreams and their ability to materialize into reality. Art has a mission: to make dreams visible, to inspire, and to turn what was once thought impossible into the possible.
Q: Your works often evoke a sense of movement and energy. Can you describe your creative process when designing such sculptures?
Every element of my artistic creation revolves around movement and energy. Almost all my works rotate on a pivot, engaging with and embracing the surrounding space, which becomes an integral part of the sculpture itself.
My creative process is instinctive and spontaneous. I work with hot wax, shaping it as if I were giving form to my thoughts, allowing the work to develop progressively. This is a deeply personal journey, rooted in what I call “plastic research,” a classical approach to understanding myself and the world around me.
Gianfranco Meggiato, Fumetti in cerca d’Autore
Antonio Piarotto
Q: How do your biomorphic forms and labyrinths symbolize the human quest for self-discovery?
The biomorphic networks and labyrinths in my sculptures symbolize life’s complex paths. These intricate patterns mirror the challenges and experiences we face, all of which are reflected in the central sphere—the metaphor for our inner essence.
Growth often comes from overcoming challenges, and the labyrinthine paths in my sculptures remind us that even negative experiences can lead to transformation. Life is, in essence, a gym for the soul. My works invite viewers to look inward, to reflect on who they are, and to contemplate the deeper meaning of life’s journey.
Q: How do you see art as a tool for cultural exchange and unity?
Contemporary art must transcend protest and decoration; it must become a tool for awareness and growth. I deeply believe in the philosophy of “Everything is One.” This interconnectedness is vital for humanity to move forward, especially in a time marked by pandemics, wars, and climate challenges.
Art can remind us that we are all part of the same organism. As John F. Kennedy said, “World peace… does not require that each man love his neighbor—it requires only that they live together in mutual tolerance.” I hope my art can contribute to this dialogue, inspiring respect for diversity and a shared commitment to peace.
Quanto di Luce sculpture by Gianfranco Meggiato in front of Heydar Aliyev Center in Baku, Azerbaijan
Adil Yusifov
In a world fraught with division and uncertainty, Meggiato’s sculptures offer a vision of hope and resilience. As Gary Scott-Irvine eloquently puts it: “As our planet passes into this uncertain phase, it is surely artists and art that have to try and make sense not only of the world around us but also of who we are and where we came from. Meggiato’s works invite viewers to ask questions, discover their inner thoughts, and stay with them long after they’ve been seen.”