Artist of silent and patient wooden creatures
The power and beauty of nature is a compelling theme. Sedicente Moradi embellishes the landscape through silent and patient wooden creatures. Like a mirage to be carefully observed to make sure we are not wrong, they respectfully fit into the landscape, enhancing it. He was born a painter, training at the Academy of Fine Arts in Florence.
«I don’t work the material but I assemble it. For wooden works I first understood the force lines of the animal I want to realize. Every shape is in Nature»
Tell a little bit about how you first got into creating art and your moving from painting and drawing to wooden creations.
It happened organically and gradually. I questioned my point of view, choosing a path to which I felt I belonged more. My presence within the landscape, rather than the enclosure of a room, set things right.
The painter’s equipment sometimes weighed on me and that technical direction was a different scenario, compared to the one in which the work had developed.
So I kept the same research, but with a lighter baggage.
What movements have had an impact on you?
Street art because I find it sincere in the reactions it generates. It is not a conceptual art or a personal vision of figuration, if it does not integrate ‘with the street’ it won’t be accepted by people, calling for respect for others and understand them. Everything converges in the search for balance. Many of my works are always there, like the Cervo Vittorio in Piazza Gaddi. My works are made of materials that do not decompose and if they are always there where I created them, it means that people accepted them.
How would you define your art?
I don’t work the material but I assemble it. I quote Carlo Sisi, art historian and President of the Academy of Fine Arts in Florence. On the occasion of the presentation of my collage exhibition Diario di Manifattura in Manifattura Tabacchi, defined my art as «composition».
Who are the artists who have inspired you?
Donatello because he knew to make emotion through drawing. With a line he solved a profile and that line excites, communicates profoundly. I also love the spirit with which the Macchiaioli painted, suitable for being at the easel breaking a classicism, in the same landscapes that I observe today.
How does your work come about? Do you prepare a drawing or a prototype first?
For wooden works I first understood the force lines of the animal I want to realize, so I allow myself greater liveliness. If it is a new project, it is useful for me to draw it with an engineering spirit, not an aesthetic one.
Your art can also be found abroad. Where can we admire your works?
My artworks are in Spain, Germany, United States. These are private commissions. In Girona, for example, I met a cultural association invited me to create a an installation on the riverside of the city, the Onyar, a version of Don Quixote returned as animals, a horse and a donkey. I am present in Germany too as a painter with exhibitions of works created in Italy, others are found in private homes around Europe. In the United States with a variety of chandeliers of other materials.
Which of your works of art you are most fond of?
Surely the deer, it has become my flag over the years!
How does the public react to your works?
The people who interact with my works are wide and transversal. There is no target and this makes me proud because my main goal is communication. There must be no cultural, religious or gender barriers in my works. They must be observed and recognized even in their nuances. The reaction of people is an interesting social indicator.
The most unusual place where you have exhibited your works?
There are places that are perfect and difficult to replicate, like the crocodile covered in bark on Lungarno Torrigiani. It was really realistic. However, I would say that La Giraffa, which has been located on the roof of the Franco Parenti theater in Milan since 2021, is the most unusual one. Thanks to his height we can see beyond…
Articolo e foto di Gaia Carnesi. Traduzione Tanya Di Rienzo.