Francesco Diluca, ULTIMA CENA

Room 14

At the beginning I wanted to create a small sculpture that would contain its own story, but as time went by the story expanded.
Gradually I was composing a narrative, a preordained path, about today’s society.
This is how Ultima Cena was born, a sculptural-pictorial installation, a story in images aimed at breaking through the veil of Maya.
I chose this title as a pretext to mark a passage.
A beginning.
An end.
Francesco Diluca

The sense of absence.
Francesco Diluca sees in these twisted forms, in these human plates, a possibility of union of the individual with the universal, the particular and the general, the sense of the intelligible joined to the extrinsicity of the sensitive world.
But then where is the body? Can the container exist without the content? What strange metamorphosis is happening to these men and why? It is precisely on these questions, these doubts, that Diluca concentrates, trying to subvert every possible expectation, depicting an envelope, a cocoon apparently lifeless, static and defenceless, the soul of non-presence, to induce us to consider and try to understand the meaning of absence. An absence that obligatorily invites, or rather forces, us to evaluate and analyse the reason for this lack, thus paradoxically finding its own unity among the plots of the sensitive, of the material, to then find meaning in the immaterial.
It is now a question of continuing the journey inside the chrysalis, in the bowels of the body, between the wefts of the soul and the lucubrations of thought; sculptures that find the courage to break, to then penetrate into the interior and the structuring of the human framework.
The work of art, as Andrè Malraux reminds us, is not only execution, but birth, it is life in the face of life.
Alberto Mattia Martini

Francesco Diluca was born in 1979 in Milano, where he lives and works.