In his early period, Giotti worked with bronze sculpture, exploring the expressive possibilities of representing the human figure. Soon, however, the artist abandoned figuration in favor of a more complex investigation, in which metal became not merely a material, but the very foundation of his artistic statement. Thus emerged monumental compositions in which tension and equilibrium, mass and void, structure and space form an integral system. Despite the use of industrial elements and references to post-industrial aesthetics, these works are distinguished by their inner harmony, the rigor of their compositional structure, and their architectural expressiveness.

Having abandoned the spatial three-dimensionality characteristic of his early works, Giotti transfers his investigation onto the picture plane. Sheets of stainless steel become a distinctive pictorial field, preserving the continuity of his artistic method. Rhythm and tension are generated through saturated colors, geometric signs, voids, and the continuous shifting of reflections.

The categories of space, rhythm, and tension, which defined the structure of his sculptures, continue to exist in these works as well. Fields of color, geometric signs, intervals of emptiness, and the changing nature of reflective surfaces generate a complex visual dynamic. Whereas previously the organizing principle was the constructive system of metal profiles, this role is now assumed by the very surface of stainless steel, endowing the works with monumentality and the dignity of painting.

The exhibition also presents modular sculptures from the Urbane series: small-scale works executed in stainless steel and other metal alloys. These works were created as part of a conceptual search for the formula of the “Divine Proportion,” the application of which endows them with harmony and elegance—further evidence of the artist’s classical expressiveness, despite his use of materials that are less conventionally associated with art.