Giuseppe Inglese

The origins of the research

Giuseppe Inglese was born in Rivoli in 1978. He lived and studied in the Turin area and enrolled in Philosophy at the University of Turin in 1998.

His formative years were marked by an enduring interest in the relationship between experience, perception, identity and reality. Philosophy, psychology and the study of perceptual processes were among the references shaping an enquiry that began as existential and gradually became closely bound to artistic practice.

Kantian critical philosophy, Gestalt studies of perception—through thinkers such as Kurt Koffka, Wolfgang Köhler and Max Wertheimer—and existentialism were particularly influential. At the same time, he explored the relationships between mark-making, gesture, colour and inner experience.

Art gradually became the place where these questions could assume a perceptible form: not as illustrations of a theory, but as experiences where matter, perception, gesture and questions about existence could meet.

He began making art independently in adolescence, later deepening his practice through exchanges with artists and studios in the area. In 2011 he opened his first studio, giving his artistic work and research a lasting base.

Matter, emptiness and presence

The first phase of his practice was predominantly painting, exploring the presence of being, fragmentation, relationships with others and the individual’s place in the world.

Gradually, his research moved away from matter towards emptiness. Graphic marks and metal wire became increasingly important, eventually developing into a new visual grammar capable of constructing form without fully filling it.

In 2012, Inglese progressively left painting behind and began weaving metal wire. Wire became structure, drawing, gesture and movement at once; emptiness entered the work not as mere absence, but as an active element of the sculpture.

Sculpture as a place for light

In 2013 he created his first luminous sculpture using hand-woven steel wire. From then on, light became a permanent part of his artistic language.

Luminescence is not used merely as a visual effect. Light passes through the metal weave, changes how form is perceived and destabilises the boundary between matter and immateriality, presence and withdrawal, body and space.

The sculptures progressively become organisms of wire, emptiness and light, often conceived in relation to the spaces that host them. Form is no longer limited to the material from which it is made: what passes through it, surrounds it and makes it perceptible also becomes part of the work.

Since 2014, his research has been regularly presented through contemporary art galleries and fairs, solo and group exhibitions, public projects and collaborations with Italian and international organisations.

From artwork to process

In recent years, his research has gradually expanded beyond the sculptural object. People, places and the processes through which a work takes shape have acquired increasing importance.

With BE KIND, making together, participation, encounters and everything that happens around the creation of the work began to be more than the means required to reach an outcome: they became part of what the artistic process could make possible.

The sculpture remains concrete and necessary, but also begins to be the visible trace of something not entirely contained in its material form.

Abitare la Luce

With Abitare la Luce, this transformation becomes even clearer. Luminous sculpture opens itself to a process in which encounters, listening, manual skills, participation and relationships become concrete parts of making the work.

The completed artwork does not necessarily coincide with the completion of the process. It can become the visible trace of something wider and partly invisible: time spent together, skills acquired, relationships formed, words, transformations and possibilities made accessible along the way.

Light therefore no longer concerns only what happens inside the sculpture, but also the human and relational space that can take shape around it.

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Generative Ecology

This transition is giving shape to the research Inglese calls Generative Ecology.

The work is no longer understood merely as a form to produce, but as part of an environment of conditions, relationships and experiences capable of opening possibilities that the artist does not entirely determine.

The question of light remains central but expands: from light as a presence within sculpture to the possibility of creating spaces where something can emerge, connect and find its own form.

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