Lucia Nicolai






Lucia Nicolai, was born in Rome, where he lives and works.
Artistically and culturally multifaceted, versatile choices in the use of materials, Lucy Nicolai, was devoted to various forms of artistic expression.
Active in '"underground" Roman, as contaminating artistic, with a path based on the recovery of materials destined for pulping.
A special relationship with the "wall" (blown concrete, aerated concrete, a mix of cement, sand and water), waste from construction sites, instead of demolition, which, like shards of another's experience, from the original use of separation, reach the experimental search for new meaning.


Many of his works are in private collections.
He oversaw the construction of the Janiculum Hill in Rome Grand Hotel, with 11 sculptures.
Some recent events:
"Alchemy Contemporary" collective. Rome
"Cloisters in the exhibition" collective. Latin
"Sermoneta turns pink" personal. Sermoneta
Participate in the selection for the 6 th year of Ferrara
Participate in the selection for the 3 ° of Rome three years, winning, with two works.


" Lucia Nicolai is not identified with a certain intellectual, the artist, his artistic personality rather exalts the figure of the archaic 'artifex - creator - where the pleasure comes from sharing the manual labor to create the appearance, even in the presence of the public, surprising in plastic forms. And here arise from construction materials recovery (waste Siporex) plastic flowing forms and dynamic but also as a tribute to eco-sustainability by recycling the primary element...


Lucia lives matter, molding and intagliandola with simple tools, unifying the sphere of sculpture to zero and that impact of the enchanting and magical spirit of aesthetic creation, every work comes from the bottom, then becomes the expression of an adventure of his soul...


Lucia began looking at the stone Siporex, cold and impersonal, almost unpleasant, wants to get something if you grind it, but bring it back to new life and new dignity, advancing cautiously, trying to find out what the stone wants and what hides inside, then if flows the human figure or unconsciously approaches the great Henry Moore sculpture or the Maya, the better...


the artist evokes distant memories of arketipe shapes, curved elements, meandering from the ground surface where the empty forms have the same value of full plastic, that refer to the sensuality of the female world, like a pot that you can never completely empty or fill in forms pre-existing left "open" the interpretation of the observer."

Paolo Orsatti - February 2012



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