SUICIDE - 2025 World Premier - HOUSE OF SILVESTRI

World Premier Event Announcement

Welcome to the Avantgarde Sculpture World of Tomasso Silvestri

SUICIDE

Welcome to The New 2025 Sculptural Works

In SUICIDE (2025), Tomasso Silvestri delivers a sculpture that is as disarming as it is monumental. Standing just two feet tall, the work possesses a gravitational force that far exceeds its modest scale. The piece functions as both homage and rupture—acknowledging the lineage of classical sculpture while detonating its conventions through material innovation and a raw, almost volatile, energy.

At first glance, its vertical stance and commanding presence recall the traditions of figurative statuary—echoes of Greco-Roman marble torsos, Renaissance figures of contrapposto, or even the fractured modernism of Rodin. Yet instead of polished stone, Silvestri assembles an alchemical collision of materials: broken bottles, steel pins, surgical tape, razors, cholla branch, styrofoam, and liquid emulsions. The result is a sculpture that breathes not through illusionistic flesh, but through a visceral interplay of surfaces, shards, and tensions.

Where the classical masters sought permanence in bronze and marble, Silvestri courts fragility, impermanence, and confrontation. His “4D Technopop” vocabulary transforms refuse and sharp edges into a luminous composition—redefining sculpture not as a monument to order but as a living organism of chaos and balance. The blades and razors, rather than threatening violence, serve as line and contour; the silver rods become gestural marks in space; the surgical materials lend a haunting intimacy, as if the body itself were being sutured and reimagined.

Art historically, SUICIDE converses with traditions of assemblage—from Schwitters and the Dadaists, to the junk sculpture of John Chamberlain and the bricoleur aesthetics of Arte Povera. Yet Silvestri’s approach is neither nostalgic nor derivative. He pushes further, integrating a rigor of composition that recalls the careful balance of classical figuration. Each shard, branch, and wire is placed with the intentionality of chisel marks on marble, yielding a harmony that elevates disorder into something sublime.

Most striking is how Silvestri collapses dimensions. The sculpture inhabits three-dimensional space while insisting on a “fourth”—a psychic or spiritual register that vibrates through the work. This resonates with the mystical ambitions of Kandinsky, the spiritual modernism of Malevich, or the transcendental planes of Rothko. SUICIDE operates as both object and portal, a sculpture that refuses to be simply seen, demanding instead to be felt, endured, and entered.

If classical statuary sought to immortalize the human form in idealized beauty, Silvestri proposes a new ideal: the beauty of fracture, of resilience, of metamorphosis. SUICIDE stands not as a monument to the past, but as a declaration of what sculpture can be in the 21st century—an unflinching synthesis of the sacred and the discarded, the ancient and the ultra-contemporary.

In Silvestri’s hands, broken glass and surgical tape acquire the dignity of marble. Composition, balance, and gesture live anew in materials that once symbolized fragility or violence. The work becomes a radical re-inscription of classical ideals: proportion, harmony, presence—translated into the language of our time.

With SUICIDE, Tomasso Silvestri has not only expanded the sculptural lexicon, he has given us an object that reframes the conversation between past and future. It is a work that dares to ask: what does it mean to sculpt the human condition today, in all its brokenness and transcendence?

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