chapters

From the works collected in chapter II itis clear how the artist pauses to investigate, in summary, the persistent struggle between the impetuous antagonistic energies that dominate human nature, examining the state of tension that governs every man, in constant search for a balance which can never be reached, if not after the eternal return in a motionless and infinite time.

the "mannequin" carries within itself the concept of materiality, of the fragile and yielding nature of each individual; while, the female figures become messengers of the truth, guardians of the secret of Life and the Universe.

Monica Di Paola, who curated a personal exhibition on the occasion of the 10th anniversary of the L'Aquila Earthquake 2009-2019, writes in this regard:

"The mannequin is the object of everyday life, the subject of so much twentieth-century painting and an instrument of fashion, design and applied science.

«Each individual is energy», thus Giacco introduces the theme of the mannequin, present in many of his works.

At first the attention is focused on the term energy, as what moves the microcosm of man and the macrocosm of the Universe, flowing and transforming without ever running out, but the repetition of the articulated wooden body, in different compositions and settings. , then brings the thought to "every".

The subjects of these paintings are in fact devoid of identity and attributes that help to identify their sex, age, social status. The only exceptions are Cupid and Psyche and the Pietas.

The latter proposes the consolidated Christian iconography with explicit references to Michelangelo's Vatican one; yet precisely in the Christ-mannequin we can see the introspective investigation of Giacco's art, in the arms of a mother made of sky, designed and rendered plastically only thanks to the red cloak.

The son of God is not even a son of man, he is an inanimate body, devoid of life and death. God, the artist herself informs us, is within each of us, but sometimes we look for him outside, identifying him in destiny, who moves us like puppets or who forces us to walk suspended like tightrope walkers on ropes.

Man, and like him the mannequin, carries with him the weight of his own mortality, of the eternal climb that is life in its difficulties, leading him to fall, to climb, to stop and start again. There is no need to investigate the expressions of a portrait, the gestures of a human body "in flesh and blood". The path of life, that is the tension towards the light and the continuous Metamorphoses to which living subjects us, is common to every individual, and to the entire Universe.

The taut ropes, vertical or suspended in the void, are an intuitive allusion to the difficulty, the fear of falling, the tenacity of clinging and the need to concentrate to keep oneself in balance.

The blue rope (color deliberately chosen to suggest a path in spirituality), stretched or loosened, is a metaphor, continues Giacco, of the concept of balance, weighting and choice. The ropes are vertical when you have to work hard, resist and insist; in other works they are manipulated by enormous, omnipotent and immanent hands, which emerge from a black and disarming void, every time we refer to the “outside of us”. Does man suffer the unstoppable, the uncontrollable, or is he the architect of his own fate? "