Grande Mutilazione belongs to the later period of Leoncillo's life, a period that saw his spiritual retreat during which he devoted himself to his artistic production, to his own end, abandoning public or private commissions. In this solitude, Leoncillo arrives at the depths of matter, observes it and shapes it according to the recurrent forms he was so attached to.Grande Mutilazione, in fact, develops in an imposing verticality that increases its Pathos, in the strict Greek sense of the word, the all-encompassing passion, excitement and greatness of Greek tragedy. It is no coincidence that during his youth, Leoncillo had investigated oneiric and mythological themes that presaged this vertiginous vertical development. In addition to the study of matter and colour, and experimentations with both under the effects of glaze and glazed earthenware, Leoncillo in this period faced the world of spatiality, addressing similar issues to Lucio Fontana, with whom he had collaborated in the XXVII edition of the Biennale di Venice. In the same year in which he created Grande Mutilazione, Leoncillo created Taglio Rosso, which, even in its title, recalls the study on the fourth dimension of his colleague's tagli (cuts). These totemic works are characterized, like most of the artist's production, by a strong presence of light and dark. The lines carved into the terracotta create a labyrinth of dark tunnels that branch off across the monolithic work.
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