Loris Cecchini

Loris Cecchini was born in Milan in 1969 and currently lives and works between Prato and Beijing. His artistic training took place in the 1980s, a time when mass culture, commodification, and consumer goods had already become integral to everyday life. This period witnessed the unconditional development of new technologies that began to be employed in the artistic field. Loris Cecchini is interested in all new media: he engages with computer usage and various 3D design programs, and he is drawn to virtual reality and innovative materials developed through material chemistry. By the end of the 1990s, he transitioned away from the extensive use of digital photography toward a more manual practice: rubber sculpture. Thus, between 1998 and 2007, he dedicated himself to replicating everyday objects using materials such as urethane rubber, resins, silicone, and cellulose.

The series titled Stage Evidence, from which the work in the Iannaccone Collection is derived, serves as a true catalog of everyday objects: a bicycle, cinema chairs, a violin, a piano, a trash bin, a radiator, and even an entire office, to name a few. Cecchini personally oversees the meticulous creation of the molds, actively directing the work of several collaborators. The "non-sculptures," as the artist likes to call them, are soft and rendered in an aseptic monochromatic gray, a non-color closely tied to notions of the technical and the artificial. The artist’s intention is to provoke reflection; the rubber objects may initially appear humorous but ultimately elicit only bitter laughter. His urethane pieces lack an internal iron frame, leading to a gradual collapse and folding in on themselves, presented as something never definitive but rather in a state of becoming.

The trash bin, like the other objects in the Stage Evidence series, undergoes deconstruction and deformation from its original form. It is an object that has lost all functionality in the real world, and through the artist's intervention, it can be viewed from an "other" perspective rather than being perceived according to its intended function. The choice of subject matter is not coincidental; it alludes to a consumer society that wastes everything and recycles nothing.