And it is here, in my opinion, that the narrative element of this sculpture is identified: that act of transformation, almost of metamorphosis, seems to take place under the eyes of the user, when instead it was crystallized in a definitive manner by firing. Yet the impression remains of an image in flux, of an intermediate stage of a process that is taking place.
These spheres, one next to the other in a larger cavity, or stacked on top of each other in an irregular column, do not form a still life but cause a dynamic situation: something is happening even if you never know well in which direction it is going. Thus, the state of metaphoric precariousness activated by the sculpture, which sets in motion an event that seems to develop an internal motion without the need for human presence, as a natural process that takes place in itself. In this sense, Cerritelli observed in 2012 that “Bresciani seeks the tactile energy of primary drives, the points of connection between figural allusions and abstract tensions, lacerations, and cuts, essential procedures for revealing the visceral states of the body, the hidden spaces in the magmatic flowing forms”. This phenomenon was amplified even more in installations of an environmental nature, when these single elements, born provoking lacerations in the structure of spheres or bowls or amphorae, are scattered on the ground with various dispositions and the single object, albeit autonomous, is not valid only for itself but also for its contribution to a wider totality. In this, as Flaminio Gualdoni had observed, commenting in 2016 on another series of works by Bresciani, the long and narrow wall-mounted reliefs of the Orizzonti, "one does not perceive [...] the aftertaste of the fabbrile liturgy, the offer for aesthetic appreciation. His work is born in the long, concentrated, intense, sometimes grinding but never fictitious, time of soul study: and in his silences. And it is an introverted time, exclusive, of interrogative wholeness of self ».
In Territmi something similar happens: a narrative aggregation of fragments initially with a rectangular or square modular base, from which are born several "huts" composed of strips of colourful matter that seem to be held together more by a force of attraction than by structural cohesion. Of architecture they were retained the idea of a form that can be seen from inside and outside, which has an exterior, not as a limit of a solid volume, but a framework that defines a space and allows us to appreciate its internal development through open gaps in different parts, as if to push the gaze to penetrate the interior bounded by the sculpture. The ensuing ensemble is therefore multifaceted and ready to reveal itself in aspects that are different from time to time depending on the point of observation. After all, there is no privileged angle for a unitary perspective: Bresciani suggests rather to follow the dance of the single patch of matter around an axis, as if a wind had activated the mechanism inside the form, emphasizing the temporary phase of an assembly on which mineral concretions were formed, but which always seems to be on the verge of being disassembled and recomposed, and which at the same time always remains transparent with respect to its own constitutive processes. Following the dynamics of these fragments which deposit on a structure and compose a set, in fact, it gives the impression of following the various phases of work with which the artist has assembled the sculpture. One has the feeling that that intense blue roof has just fallen over four columns to cover the "hut", that the blow that tore a strip of material by folding it back on itself has just been dealt, therefore, as if a sudden snapping of fingers suddenly animated each piece causing it to float until it reached its position in the ensemble.
If we meditate on the technical side of material execution, however, we realize that it cannot be so and that this impression is an intentional poetic choice. It is enough to realize that the colouring, which plays such an important role in this research, is always subsequent to the modelling, to understand the imaginative capacity with which Bresciani has controlled the technical and formal plan, guaranteeing the sense of lightness and unimaginable naturalness to the final result, as if everything had been simple and immediate.
Here, as Gualdoni had already observed in 2016, is committed a «conscious contamination between legacies of code» which is possible thanks to ceramics when it creates a coexistence between a plastic and “sculptural” plan and a strictly pictorial chromatic one. The Territmi, after all, would be unthinkable without colour, because without that dynamism the narrative structure of the whole would disappear. And it is the colour, after all, which is the structuring element that clarifies the relationships between the forms, emphasizes the points of dynamism and establishes the compositional balance and makes the rhythms and movements unmistakably legible. For this reason, perhaps, he has arrived to a timbre colouring, albeit softened by the use of oxides and not by enamels - also used in the past - in order to maintain an opaque surface that does not betray its clay nature but rather highlights it.
But the colour has a further function: it establishes the joyful emotional mood and gives the whole a playful declination. In the final analysis, the places described by Bresciani would be inhospitable for humankind: an idea of housing too temporary to be called "home", but with a playful intonation that makes everything airier and lighter.
These seemingly fragile structures, in a metaphorical way, resist time; like sedimentations of a precarious time destined to transience: an inner motion led them to unite, but one imagines that a breath of wind can make them swing, transforming them into singing and dancing sculptures.
