“Nature in itself fascinates me: the phenomenal organization of the movement of liquids, the shapes of leaves, the structure of seeds, the complexity of mineral shapes... I observe them, and I let them point the way, then I often like developing it through a technological line of thinking, which for me is an important form of knowledge. I look at the relationship between aesthetics and science: I stay on the boundary between the natural and the artificial, I draw from nature which I then work with using other forms of knowledge and, in the end, I try to create a shift, a poetic suspension.”
What distinguishes Cecchini’s modus operandi then, especially in recent years, is the attempt to go beyond the ‘epidermis’, the purely aesthetic aspect of this nature, understood in the broad sense, to discover, often using scientific means, such as the microscope, precisely the more intimate structures, almost the chemical bonds, one might say, and make these the models, resorting to the term once again, of his works. We also understand how the artist’s approach to nature is so ‘emotional’, based on inspirations and emotions, how ‘analogical’, how scientific, how technological it is. It is precisely the technology, in fact, that, far from being in collision with the physical world, can always simulate the natural morphological structures more reliably, a possibility that truly fascinates the artist, who uses three-dimensional design software capable of creating a nearly perfect imitation of nature’s process. The artist is able to materialize an organic idea through ‘macro’ compositions in the final aesthetic outcome, but still ‘micro’, because they are in molecular form.
Cecchini’s ‘naturalism’ is not so much expressed through copying what he sees but by paying attention to the intimate physical structure of matter.
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