By reading through the exhibition catalogue, released in October 2014 by The Museum of Modern Art in Saint-Etienne, we realise that what emerges in Caravaggio’s works is not an investigation into the limits of perception, but rather, a quiet ode to the imponderability of experience and the irreducibility of the individual impression. Gianni Caravaggio always manages to set up a silent dialogue with the viewer, supported by creation of an emotional and intellectual tension that leads to meditation, to inner silence, to concentration and to constant reflection on the meaning of our existence. Each of his works of art is set on the ground, without a pedestal to separate them from the floor. The artist uses humble materials like flour along with marble and bronze. In Caravaggio’s works the dimension of the floor becomes a true horizon of the events, a shore of possibility. Using the intangibility of shadows as an actual sculptural material, Caravaggio creates a precariously poised object whose visual unity is always on the verge of disappearing.
As reflected in Jean-Luc-Nancy’s latest essay on Gianni Caravaggio “An art such as sculpture establishes a mutual creation of places and materials. A stone stands out, it becomes distinct. It appears like a rock fragment. But it is not valued as a piece: it is valued as a rough weight, a thick compact mineral [...] This totality poses and imposes: it is the place, it doesn’t occupy it but it makes it, it accomplishes it. It gives it movement for a start, its fall in situ and its ability to press the ground damaging, scraping or tearing it. What happens here with this stone is an image.”