“For a sculpture which si no longer exclusively for aspecific place but for the time. Right at that moment, possible ni that instant, but probably to everywhere.”

Gianfreda devotes study and research to the language of sculpture, investigating the connections between the themes of resilience and identity, matter and image. He looks for in the adaptability of matter, through mobile systems of assembly, unrepeatable formal variations that make sculpture unique in a specific moment.Particularly representative of this approach are the recent works in the series “Nothing as it seems” that starting from deeply iconic objects such as vases, transcultural and transgenerational, are fragmented and reassembled on a mobile metal weave that allows them to constantly take on new and infinite forms. The vase loses its original function of containing, but the identity of the object survives destruction by reversing the drama of the gesture of breaking understood as an end in favor of a new possibility of existence. The principle of adaptation of form is a systematic approach of Gianfreda’s to art and is repeated in a larger scale that the artist declines and verifies in different contexts, physical and thematic ranging from public space to the art system, from the space of the sacred to that of business constantly trying to question the context in which the work is placed and activating it so that in it bonds, affections and care towards the work are generated.