Young veronese sculpture

In the end Lineri finds out, with an obstinacy in his thematic straights which is analitic and conscious at the same time, his world of shapes and things that is research itself; aesthetic fact, legitimate natural reality, history and science mixed together. The documents he offers are complete sculptures, they will be or could be (i cannot certainly debate so complex an argument) shapes, totems, emblems, ancient expressive documentations, nevertheless their up-to-dateness, their essential expressive power-novelty don’t change. Whether or not you consider casuality, or causality, of time, elements, human history or naturalistic one, or even Lineri’s evident capacity in assimilating and presenting, choosing and preserving them (as poetic allusions or very ancient realities), these sculptures, as they are, have got such a communicative dignity, and such an aesthetical signification that they surprise and fascinate people from every point of view. Lineri is a “case” made of mysterious natural consciences, a “case” that is lucid and hallucinated at the same time, destined to become curious and ambigous meteorite, in the provincial routine, alone, and alone, like a wandering traveller full of prophecies he chooses and stores up a treasure rich in underground and inexorable human presence; he is an uncomfortable witness just because he’s a witness (and he is not a relay racer, cause nobody never relieves him) but he witnesses poetry.
His findings, his real-imaginary archetypes are dialogue signs which in every case motivate themselves ex novo, for an expressive breadth as hoarded as significant message: real line that the “world” expresses in itself for man, within the limit of his unconscious suicide desires, the limit of that vital space more and more threatened, less and less natural, habitat, that Lineri reproposes integral, decisive, ancient and brand new.