Matteo Ciffo - Frammenti - Cavallo di Troia

- Contemporary sculpture by Matteo Ciffo (Italy - 1987) - Title Fragments-Horse of Troy - Year 2026. Edition 3/8 - Signed and authenticated by the artist, with certificate of authenticity - Material: Cold fusion of marble and stone powders - Excellent condition - INCLUDED A RECESSIBLE REAR SUPPORT FOR GREATER SECURITY AND STABILITY (indicated in the last photos with a red arrow) Collection FRAGMENTS The comparison with classical sculpture is a central element of this collection. Those forms, historically linked to the idea of perfection, eternity, and collective memory, are taken as a starting point and subjected to a process of fragmentation and redefinition. The form is no longer understood as a stable unity, but as a transient condition. It is interrupted, broken down and recomposed, revealing its unstable nature. The volume opens up, splits into blocks and fragments, generating a new structure in which time is no longer hidden, but becomes a visible element. This tension eliminates the idea of perfection as an absolute state. What appears eternal reveals its vulnerability. The classical form survives, but transformed: no longer a symbol of immortality, but a presence traversed by time, exposed to change and returned to a new dimension. MATTEO CIFFO Born in Biella in 1987, since 2007 I have developed research centered on matter, its transformation, and the memory it preserves. My work arises from a direct relationship with noble and complex materials such as marble and stone powders, natural pigments, Armenian earths, oxides, and metals. I do not consider them merely expressive tools, but living presences, bearers of time, history, and the possibility of rebirth. Through a process I consider more ritual than sculptural: a rebirth of stone guided by my hand. The practice stems from observation and the desire to give life back to what has been crushed, abandoned, or forgotten. Fragments and scraps, often originating from the work of other sculptors, become the raw material for my works. They are materials that already carry a history within them. I disassemble and reassemble them, generating forms that no longer belong to their previous state, but to a new condition. Each work emerges from a fragile balance between loss and rebirth, between memory and possibility, making visible the moment when matter ceases to be what it was and becomes something else. The path takes the form of a transformation that goes beyond traditional sculpture, approaching an almost alchemical dimension. I use materials that have already had an existence, disassemble and reassemble them to generate new forms and identities. Each creation arises from a tension between destruction and regeneration, between loss and memory, making visible a continuous state of change. The research confronts materials that embody a deep contradiction: apparently eternal and indestructible, yet at the same time sensitive and vulnerable. What seems immutable reveals an unstable nature, capable of reacting, oxidizing, and transforming over time. This condition makes matter an active part of the work, involved in a constant dialogue with time and the environment. Perfection gives way to fragility, and eternity manifests as a living, human experience. Matter is not subordinate, but becomes a co-author, preserving on the surface traces of the gesture, of the process, and of its evolution. Autodidact, I have built my path through experimentation, observation, and listening. The approach is not about control, but about accompanying the material in its transformation. The resulting forms reflect the functioning of memory: structures in which fragments, traces, and absences coexist and regenerate. This practice explores matter as a living archive. The sculptures emerge as presences suspended between ruin and rebirth, between permanence and transformation, restoring to matter a deeply contemporary and human dimension.

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