09.11 FLOOR LAMP BY JORIS POGGIOLI

Per Quelli Che Volano presents a series of monumental works that feel removed from any specific time or place. Rather than referencing a particular historical moment or design movement, the collection draws on forms that appear enduring and universal, as if they have always existed. Cast primarily in black bronze, the works assert themselves as charged presences, defined by weight, balance, and mass rather than ornament or narrative

The collection is inspired by the notion that knowledge is recalled rather than invented. The forms feel remembered rather than designed, recalling archetypal figures that recur across civilizations: ancient statuary, sacred geometry, primeval monoliths. Yet the works refuse fixed lineage or symbolism. Instead, they operate as shared formal memories embedded in collective culture, understood instinctively through proportion and geometry. Their authority derives from physical presence rather than representation

Aesthetically, Per Quelli Che Volano is defined by a language of reduction and resolve. Robust volumes and angular geometries are stripped of excess, echoing the severity of brutalist architecture while remaining unbound to any specific movement. The silhouettes suggest ritual objects abstracted to their essence, where symmetry, verticality, and compression generate tension and authority. The result is a vocabulary that feels both archaic yet radical, monumental yet distilled, severe yet precise

Material is central to the collection’s expressive power. Black bronze dominates, lending density, gravity, and a sense of permanence. Its matte surfaces absorb light rather than reflect it, intensifying the objects’ visual weight. Occasional incursions of contrasting materials introduce moments of permeability and tension, underscoring a dialogue between opacity and transparency, compression and release. Throughout, the artist’s hand remains present, grounding the works in physicality, sensuality, and reason

Ultimately, Per Quelli Che Volano operates beyond the logic of explanation. It is not concerned with naming, dating, or categorizing, but with the transmission of muscular energy and unbounded emotion through form. Nocturnal, animal, and spectral, the works stand as contemporary relics, at once telluric and sculptural, holding space through balance and force. They remind us that design’s most enduring power lies not in representation, but in presence: form precedes language and meaning is felt before it is understood