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(...) Boccardo would not have been who he is if he had not changed from his constructive art initial proposal to kinetic experiences, light, movies, graphic design to be back in 1976 to object painting to finally reach the sculpture field.
His sculptures being another ring in a chain, rings being transformed in instants of a desiring creativity through an artistic run. His flowing spirit does not allow to be trapped in a single moment, since that moment does not exist in itself. It is an intermittent cascade of static elements as regards to material and dynamics and they are escentially flowing, in the epiphenomenon of light they contain, the epiphenomenon of poetry. Anyhow there is no poetry in sculpture without a certain dematerialization, without the insubstantiality that deprives the architectural net from its possible support or acts as a canvas: matter, the most solid Aristotelian sense. But Boccardo’s materiality is like the materiality of a desire, a vanishing materiality. Jorge Glusberg |
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“Constructing the new” (Filiberto Menna) is Boccardo’s artistic experience central term, that belongs to the legitimate space of sculpture. But this construction does not exclude the process of work resemantization, neither implying for that the resource to exhibit personal mythologies of past quotations nor recurrent praises of the regional.
Now it is the structure of the work itself, that has obtained its syntactic autonomy transmiting little signs, archetype figure tracks, forgotten matter sensations, exhumed from a handicraft that seems to hold in itself a disciplinary memory and an anthropological memory. Boccardo helps the subject of the sculpture to jump the obstacle of its permanent transgression. Carlos Espartaco |
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