Starting from his father’s workshop, Maurizio Fusari trained at the school of Giò Pomodoro, a sacred monster of 20th-century art, for whom he created prototypes, jewelry, unique pieces, and micro-sculptures. The talent of the master, which Giò himself recognized was not limited to technical skills, was also acknowledged and valued by other renowned Italian artists such as Fiume, Consagra, Aligi Sassu, and Maestro Galbusera, with whom Fusari has collaborated and continues to collaborate closely. From the Guggenheim Museum in New York to the Diamond Museum in Antwerp and the European Parliament, Fusari’s creations have won over both international art and cultural institutions and a broader market of individuals in search of beauty and value that withstands the test of time.
“The Fusari, father and son, from Graffignana in Padania, far from the glorious centers of ‘high’ aristocratic goldsmithing, from the city of Cellini, Florence, are hunched over crucibles, spending hours and hours at the workbench, handling and shaping gold, the metal of the gods, as goldsmiths have always done from time immemorial. Gold, the gold of goldsmiths, is taken from the funerary form of the bank ingot, redeemed and liberated with love, never with greed, from the hands of the ‘artifex,’ the artisan artist. Glorious art, goldsmithing, because it produces the emblems and symbols of sacredness: so it was in the past. One recalls the looting of Montezuma’s treasure by Cortez’s rogues, melted into crucibles and turned into ingots, or the golden coffin of the pharaoh at the Cairo Museum, countless works of this art have been lost, always reduced to ingots by the stupid greed of thieves. The great alchemical metaphor of transmuting lead into gold has found its privileged sanctuary in goldsmith workshops since ancient times. Gold, melted in the crucible and purified, is a liquid sun emitting a clear and blinding light that cancels out the desire for possession, exalting and freeing the creativity of the craftsman. Personally, I will always be indebted to those goldsmiths who generously initiated me into an extraordinary journey, just as I will be equally indebted to the bronze casters and stonecutters of Versilia. With these travel companions, our partnership will never be interrupted, according to the ancient rules of solidarity and mutual exchange of individual skills and abilities, which, when combined, produce works of art, from jewelry to sculptures. It would be long to list their names, but Giuseppe (the father) and Maurizio (the son) Fusari are part of this long chain, of which I, along with many others, am also a part.”
Gio Pomodoro
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