In Cianfanelli’s forms one becomes aware of images and shapes that are, in a sense, made apparent through omission. Aspects of the object may not be entirely visible. Parts may be hidden or simply missing. Sometimes it is as if the works are remainders of images that used to be or images that have been replaced, obscured or erased. Cianfanelli is drawn to the expressive possibilities of blank space, and the aesthetic patterns that result from obscuration and omission. Yet his work has little to do with the pursuit of purely formal abstraction. The images or references within the artworks are quite specific, even though they have been visually obscured or omitted.
Scale is pivotal. By reinterpreting numbers and playing with measurements, Cianfanelli repeatedly interrogates the mysterious connectivity between microbes and planets.
From the smallest maquette to the immensity of a fully realised public sculpture, his figures and forms allude ambiguously to landscape, the human body and microorganisms. His spheroid sculptures, in particular, refer simultaneously to microscopic, visceral and celestial forms. Our desire to grasp our own humanity is precariously formed from an engagement between our sense of individuality and our location within a greater species, on a singular planetary body.
For this, his sixth solo exhibition, he embarks on an adventure in search of forms that prompt subtler responses to the complex natural and built environments in which we find ourselves.
Text by Alex Dodd