In the work of Loris Cecchini (born in Milan, 1969), photography, drawing, sculpture and installation combine to form a unified poetics. Cecchini’s work owes as much to his expertise of a broad range of media as to his indefatigable curiosity. The subjects that appear in his work include multiple collages and detailed architectural models, objects in rubber, reinvented caravans and tree houses, structurally distorted spaces, and prismatic, transparent covers and surfaces.

Physical phenomena become an optical and emotive inventory of the environment. Natural systems are transferred into a layered system of semantic relations in order to reveal the invisible processes of a synthesis between nature and culture. Modular steel sculptures, tangible phenomenologies in stone, microscope images re-elaborated in 3D in the shape of monochrome pictures and watercolour and pencil diaries encapsulated in transparent vacuum wrapping yield material geographies and poetically elaborate the space and the surface of the work: the installations floats in the spatial infinity of the micro and the macro, in which the phenomenal reality re-elaborated by the artist becomes anatomical memory and conceptual diagram. In the expressive osmosis created between biological forms and architectural structure, Cecchini invites us to reconsider our conceptions of reality and representation, the organic dimension of natural development and that of the technical-artificial landscape.

His series Monologue Patterns are idealized dwelling systems on wheel, small spaces designed around the idea of caravan, the trailer, the roulotte, a nomadic space for definition, combining sculpture and the tradition of utopic architecture to form a spatial and visual - poetical experience; some of them are up on the trees, with different characteristics, but always as places related to a sort of “poetical distance”.

At the heart of Cecchini’s work is a new reading of spatiality: physical space is interpreted as something biological, organic and vital, but at the same time as something that is rationally structured, mechanically produced, perfectly artificial and yet endowed with an organic-structural functionality