In apparent disagreement with the state of grace of human anatomy, Nicola Cucchiaro goes to the very origins of artistic endeavor.
His production consists of combining and displacing the viewer's attention to introduce disproportions and discontinuities in body sculptures, which allow to show what is inside and behind the plastic process.
In particular, multi-material works belong to the bricolage genre which, according to Lévi-Strauss, "speaks, not only with things, but also through things, narrating through the choices it makes among a limited number of possibilities, the character and the life of its author".
Through bricolage and collage, these bodies are inscribed in the aesthetics of ( Antigrazioso ) related to the inconsistency of African, Oceanian and pre-Columbian art. But this similarity is not produced by stylistic imitation, but by conceptual appropriation.
Contravening traditional canons, Cucchiaro works within form in an attempt to find that "sense of wonder" that lurks in all things (that is continual discovery and surprise).
The same happens with the terracotta sculptures and those obtained with rakú ceramics, which refer us to the Palaeolithic Venus, as well as to an invisible umbilical cord between the raw material and the original matrix.
Collected within themselves, the figures seem to keep in their lap the secret of an art that needs a body to communicate: a body subjected to anomalies and neuroses that alter the pre-established order, giving life to an aesthetic and archaic game that reflects the instability and the turbulent charm of our times.