Home Art & Style The Fascination of the Demiurge : Ugo Cacciatori

The Fascination of the Demiurge : Ugo Cacciatori

by AdminAg

Written by Monica Camozzi
Photos by Simone Angarano

In Plato’s myth, there was a figure capable of translating the chaos of the world into beauty that carried within itself ideal perfection. This creator was the Demiurge, capable of shaping and vivifying matter, providing things with a soul. Seeing a piece of jewelry, an artifact by Ugo Cacciatori, is like being halfway between the world of ideas and the earthly world.

And one wonders, at first glance: ‘where does art spring from? Is it innate or induced?
Being born in Carrara and having breathed in every nuance of marble up to its artistic transduction has certainly counted. Having the instinct of the traveller who pours his feeling into objects, metabolising the inspirations gathered along the way, was certainly relevant. But when you look at a Cacciatori object, all theoretical speculation is abandoned.  Because it reaches the hypothalamus, like a perfume. And one simply lets oneself be lulled by the majesty of silver, never limpid, always overshadowed, of citrines mixed with diamonds, of raw material and precious stones, of gold that abandons its haughtiness.  With a suggestive, profound ornamental imprint that manifests itself like a gene.

Is the journey that leads you to create mental or physical?
The journey begins at birth. And it does not begin naked and free. We come into the world with genetic baggage, the minimum necessary to face life. Like tiny travellers in the universe, we arrive with tools shaped by those who came before us, with innate predispositions that only luck, teachers, and experience allow us to express or repress.

When does an artist become ‘avant-garde’?
Let me preface this by saying that I do not consider myself an artist. My act of creating is the fruit of curiosity, first and foremost, and experience. It is the ability to observe and ask questions, searching through solutions and applications for the possibility never expressed before. This attitude involves understanding and maintaining processes at the same time as eliminating rhetoric and, as far as possible, what has already been done before by others.

“The avant-garde is simply the drawer in which to store the singular but coinciding visions of other creatives committed, with the same meaning and intention, to overcoming the present”.

You tell stories by composing matter: where do you start from?
I start with simplicity from the material itself, letting myself be guided by intuition and by what is normally called style: which is nothing other than the collection of things I like and which I enjoy recomposing in a new way. The result has to enthuse me first. The rest doesn’t really interest me that much. The choice of materials is a preference that stems from so many personal factors that it is impossible to list and which in any case are not part of the story I tell, except for the one I tell myself while ‘assembling’. In short, it is not very important whether a meaning is written in pen or engraved in stone.

“I have the feeling that if I am surprised by what I create, other people somewhat similar to me will have the same feeling”.

Authentic masters of the image have photographed you: who has represented you more faithfully to how you feel?
If by ‘they have photographed you’ you mean that they have interpreted and represented my ‘creatures’, I have been lucky enough to be part of the work of true artists of the lens: Wayne Maser, Ellen Von Unwerth, Paolo Roversi, Peter Lindbergh, Steven Meisel, Steven Klein and even Karl Lagerfeld. However, I do not want to forget photographers who are very good and talented but not known to everyone and who have perhaps represented me even better over the years; I am talking about Giuseppe Toja, Yuri Catania, Alexo Wandael, Ruediger Glatz, Alberto Maria Colombo, Giulia Noni, Leonardo Bertuccelli and Daniele Golia, friends who have succeeded in portraying my jewelry, my design objects and my architecture in a precise and empathetic manner, sometimes stealing portraits and moments of my most intimate life.

“Nature is a universal language, art is its human interpretation”.

Symbolism, nature, art coexist in you, but always with a Gothic sprinkling: why?
If we start from the assumption that I consider myself a rationalist with brutalist tendencies… I do not believe that ‘Gothic dusting’ is pertinent to my style. At most, I would speak of a decorative, or rather romantic ‘dusting’ on forms that are in any case minimal and functional, an enjoyment of mine that I have always wanted to pursue, when more and when less, also in memory of an ornamental sculptural tradition of my Cacciatori family. There is certainly hidden, but not hidden symbolism.  Nature and art are nothing but the reference points of beauty and aesthetic balance that we should all have.

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