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In that land, wood means the daily material for carrying out any action of work, defence, survival, creation. A daily collation of the imagination and the senses. Yet, wood means also history, and more precisely the history of his own land and its anthropological culture. A history of construction and crafts: buildings, objects, memorial and votive icons, that represent, before becoming the objects of nowadays exportation, a solution to problems of survival: the construction of shelters, tools, and icons of memory and worship.

And wood also means to Vallazza the ancestral material of work of his own family. Thus, it is a material in which he can collate a personal loyalty, through which he can express a continuity, an ancestral and secular heritage. Yet, the perception of that material as ancient and familiar does not imply a passive adjustment, on the contrary, it enacts an active and planning participation. In fact, wood means to Vallazza the culture at the highest level of creative formulation of our times.

The same perception is a warning, pointing at the various possibilities of this ancient and familiar material at all levels of the history of modern sculptor. Thorough a series of creative steps, which nowadays appears to be part of a prehistory of his more recent sculpture - even though I personally think that they are not only very significant of his deep and indubitable talent, but they are also creative actions important in themselves, and thus not to be forgotten- the overall sense of Vallazza wood carving appears to be the conscious and self-will effort to raise a material connected with the humble, though necessary ordinary crafts to a higher level: that of pure creation, as to say, that of the culture of image.


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Thus, even if his painting, of an expressionistic taste straddling the fifties and sixties, and echoing the Cubism by the mid-sixties, has been left aside in favour of sculpture, still it confirms the deepness of the vocation of the image for an artist, who is searching for his own identity, its relation with the others, with Nature, with a social world and with history. Wood means to Vallazza the essential material, in its numerous qualities and origins. In fact, the wood is detected, especially when it comes from a history of use, such as the wood that he recycles from the old and ran down mountain huts.

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Wood that has been transformed by men, consumed by time. Wood with its own history, beyond the references to the history of rural practices, and to an ecological reality. It is the precious material that Vallazza has used in his most totemic phase -since the beginning of the sixties- with a particular sensitivity, able not to repress or cancel the possibilities of the wood-materials; on the contrary, able to exalt them by taking possession of them and referring them to his own iconic-formal draw.

Vallazza uses the grains, the worm-holes, the violent signs of time. Not only, he also uses the variety and the colours. His carving origins from an intense structural counterpoint of diverse elements placed within a wide, complete and essential horizon. Yet, such dichotomy has got blurred contours and it does not stand out within a work that never appears to be completely clear-cut, but would need an eye perceptive of the starts that upset the narration and shake the language.

As through zoom-lens, Vallazza Art sinks into the rough skin of an esoteric materiality, or else it opens towards the visionary dreams of a millenary imagination. The same force, which absorbs the gaze on the roughness of the surface, projects the image within an unreal and timeless dimension, where the tale dilutes and muddles with the legend. Thus, the Romanesque essentiality of the first ceramics by Martino Martini as well, may suggest atmospheres similar to those of the cultivated wooden primitivism of the sculptor from the Gardena Valley.

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The references become more and more contemporary: the giant joints of the Austrian Fritz Wotruba, the monumental work of Pino Castagna, the energy of Umberto Mastroianni, the sacred naturalism of the igloos by Mario Merz. The thousands oaks planted in Kassel by Josef Buys, side by side with giant monoliths, do not diverge from the idolatry of Nature expressed by Vallazza through his totem. Ancient witnesses of a visionary and ancestral imagination, the totem, the unrealistic birds, the unlikely thrones of a barbaric stoutness, declare with a clear voice their expressive force and their artistic courage.

In the first works from the sixties, the narrative element was prevalent, within the whole carving progress, with elegance and refinement.


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  • The linguistic aspect was addressed rather towards the recitative support, than towards the research of its own experimental features. In those works, a gaunt and essential image sustains the whole page set-up: ghostlike figures, existentially made thin, as we can see in the bronzes by Alberto Giacometti, suggest, throughout a constant process of flesh-stripping, an inner investigation of their secret soul. Slender characters suspended between memories of rupestrian graffiti and highly learned philosophical suggestions; works, still expressing a strong descriptive need, but also suggesting outcomes of a extraordinary intensity of expression.

    His sculptures represent an important page of research in contemporary plastic Art, pointing at that creative spirituality of the alpine regions, able both to preserve its own historical fund, and to progress towards the future at a constant pace. The revolution, without record in the cultural tradition of the Gardena Valley, has been gradual and firm. From the Period dedicated to the peasant life, to the one focused on the religious iconography Vallazza took part with some significant works to numerous exhibitions on sacred Art to the expressionistic period -instinctively echoing the great medieval lesson- further up, throughout the universe of the trunks and the robots, towards the perfection- beyond comparison — of the Informal.

    Here prevails a geometric conception and an exotic hint to the eagles of the American-Indian totem, the secret owls of the forest or the mountains huts, heralding adversities by their nocturnal hoots, to archaic recollections transfigured by an oneiric drive. The eladrin paragons, collectively known as the Court of Stars, are the celestial embodiment of the chaotic good alignment. The guardinal paragons, Talsid and the Five Companions, are the celestial embodiment of the neutral good alignment. In the Forgotten Realms, they take a more subsidiary role than in other campaign settings due to the larger number of nature deities.

    Deities in the Forgotten Realms can at times be slain, fade away from lack of worship, or have their power usurped by others.

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    The people of Unther and their deities based on Babylonian and Sumerian mythology arrived at the same time and in the same manner as the Mulhorandi, but war between those two empires and against orcish hordes have claimed most of the Untheric pantheon, now the largest identifiable group of dead deities. From Wikipedia, the free encyclopedia. This article is being considered for deletion in accordance with Wikipedia's deletion policy.

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    source site Feel free to improve the article, but the article must not be blanked , and this notice must not be removed, until the discussion is closed. For more information, particularly on merging or moving the article during the discussion, read the guide to deletion. This article has multiple issues. Please help improve it or discuss these issues on the talk page. Learn how and when to remove these template messages. This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed.

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    Forgotten Realms Campaign Setting. Forgotten Realms: Campaign Setting.


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