Loris Cecchini – Allochories

Comunicato stampa

Allochories is the public sculpture project of Loris Cecchini. The work of Loris Cecchini is situated within that fertile interstice where the precision of scientific data encounters the indeterminacy of the poetic phenomenon. To understand his monumental and public production, one must begin with an analysis of the theoretical premises that inform his practice: the conception of the module as a minimal unit of meaning and as the atom of a constructive language in flux.

Allochories stems from the idea of a form arriving from elsewhere and, in the very act of landing, transforming the place that receives it. The project co-curated by Valentino Catricalà, re-imagine the idea of garden, a space historically grounded in measure, symmetry, and the control of the living, through modular sculptures take root as “allochronic” presences: artificial organisms that seem to settle into space according to logics of propagation, adaptation, and growth.
The concept of allochory — the biological process through which seeds, pollen, or organisms are dispersed elsewhere — offers here a key to understanding the work not as an isolated object, but as a relational event. The sculptures do not simply occupy the garden: they take hold within it. They spread through the landscape like cells, branches, fluid structures, or suspended presences, activating a subtle dialogue with the geometry of the parterres, the rhythm of the pathways, and the very breath of the site.

The series Arborexence, Waterbones, Alfalfa Chorus, and Airborne translate the seriality of the module into a language that belongs neither entirely to architecture nor to nature. Their forms seem to follow processes of growth, drift, and sedimentation: they evoke biological structures, invisible systems, and the movements of air and water. In this sense, Cecchini’s work acts as a sensitive dissemination, capable of making perceptible what usually remains latent within space: the rhythm of time, the tension between order and mutation, the porosity between artifice and the living.

In Allochories, the garden is a hosting organism, an historical body that allows itself to be traversed by new presences, new relations, and new possibilities of attention.

The project imagines landscape as a field of forces in constant redefinition, where every form is at once rootedness and displacement, belonging and alterity, measure and dispersion. Sculpture thus becomes a threshold: a material capable of bringing the invisible to the surface, giving form to transition, and poetically inhabiting elsewhere.

The artists points out, “In line with my research over recent years, I have concentrated on an idea of particulate sculpture with a strong organic matrix. It is a choice that allows me to act in a spatially eccentric manner relative to the architectural context, fostering a powerful relationship between the notion of structure and that of sculpture.”