Salvatore Tulipano is a young artist and he is aware of the use of medium and the competence of aestethic and formal codes. His research is aniconica and focused on a strict analytical rigor and it is based on the topic of the space as an interaction field of volumes and vectors. The visual results are three-dimensional and recess objects with a strong speculative and projectual vocation. The insertion of the minimalist heritage on Decostruttivism references is clear, but with results totally different: Tulipano’s sculptures are not technical or aesthetical satisfactions and they are far from impersonator behaviours.
Tulipano’s sculptures are made with unusual materials (pressed cardboard and pistolegno on a wood framework) but they are also conceived for their development on big scale, close to architecture field without being real architectures. The two moments are strictly connected but they are independent with an own meaning and value; one can not be considered only in the prospective of the other.
The meaning of his sculptures coincides with their mean. The elements are ordered and assembled with great attention: Tulipano considers the relation between full and empty space, light and shadow, colour and not-colour on the basis of a geometric lexicon. He rejects curve lines, symmetry and ortogonality principles and, for this reason, an anti-euritmic, unstable, progressive and irregular movement sensation is incentivized.
For the exhibition at Fondazione Zappettini, Tulipano has planned two different plastic projects (not a diptych) to insert them into the space as denoting signs: they are not only objects but overall “tools”, useful to confer a specific imprint to the space where they are located.
The two projects are both developed from a dialectic starting point: the overlapping and the joint of two elements made in grey pressed cardboard: one of them remains grey and the other one is covered by yellow straw-coloured cardboard.
ArchSculpt13 is conceived on the concept of crossbreeding between the languages of sculpture and architecture, a duplicity which asks the viewer about the meaning of the view and the specific teleology of the object. The front shows a sloping “wall” and the anchoring of the sculpture on the floor; on the opposite side a real “opening” alludes to the possibility to discover the internal spaces of the sculpture. Furthermore, the observation point can change through different directions and contrasting interpretations on the formal level.
Plastic sign has an univocal structure: the predominant lug wrench of the element, covered in pistolegno, compared to the element, made in grey pressed cardboard, establishes a strong slanting impulse. The sculpture is typified for its well-defined lines, translated from the drawing urge to the volumetric realization and projected to an inclinated devolopment which increases its upword mobility.
The diagonal openings of those volumes invite the viewer to esplore the internal space of the sculpture. The desire to invite the viewer “to enter” inside the sculpture is a permanent feature for the young work of Tulipano: both metaphorically on a conceptual level and in a real sense, with the possible monumental realization of the sculpture.

- Paolo Bolpagni -

Critic text written by Paolo Bolpagni for “Astratta TRE”, 2014, catalogue, p. 21, Fondazione Zappettini, Chiavari



   The problem of the disciplinary status of the Sculpture has known, since nearly a century ago ("Bicycle Wheel" of Duchamp belongs to 1913), a kaleidoscopic range of solutions and proposals. Often it has witnessed a radical disruption, such as to embarrass the same exegetes: Rosalind Krauss, in her famous book "Passages", makes an acute historical examination referred to the events of the new Avant-Garde of the Sixties and Seventies, identifying shapes and configurations not really similar to the preconceived ideas of typical operability of the Plastic Arts. Use of new materials, accumulations, assemblies, installations, and environments such as: the streets, pursued by the sculptors, are exponentially expanded to include models and types that seem to have nothing in common except a development in three-dimensional perspective. Although proposing an overall interpretation of the phenomenon is very difficult (if not unrealistic) we could venture a general interpretation of the Sculpture’s evolution in recent decades acknowledging its “specimen” perhaps more authentic in space research, broadly understood.
Taking on this challenge with awareness in a climate so complex is itself, an achievement of thought, as well as the artistic one. Salvatore Tulipano - young age, meditative character, serious academic studies behind his back - has decided to embrace a declination of faraway constructivist origin (with clear references to Minimalism and Deconstructivism), but with assumptions and outcomes that preserve him by epigonali attitudes and technical complacency. In his work, first of all, adherence to abstract linear lexicon is not programmatically implemented as given a priori, but is the result, everytime, a weighted formal process of reflection and poetic intuition; played also, very often, on the edge of the thin and discreet paradox. The works of Tulipano are based on a stereometric structure of the object starting from the conjunction and intersection of simple plans. The aspiration to a rational design is obvious and it aims to define calibrated spatial rhythms, often irregular (we are far by temptations neo-pythagorean, or application of "golden numbers", "golden sections" and “divine proportions": the perspective is immanent and "purovisibilistica", totally alien from symbolisms, as well as referencing and "external" denotations). The vocabulary is always of geometric matrix and, in the rejection of the curved line and the principles of symmetry and orthogonality, it helps to arouse a feeling of instability and progression: dynamism and obliqueness dominate, they are “hot” factors compensating the “coldness” of the constitutive ingredients.
The speculative vocation is very strong, but it doesn’t lead - as sometimes happens - to an underestimation or penalization of the factual component, nor the technical side. Actually, in Tulipano, a deep interest in the materials and their mutual interactions and reactions shows through. One of the core concepts of his research is the investigation of the relationship between Sculpture and Architecture, aesthetic and semiological considerations of great significance and sometimes alienating perceptual circuits arise from. Beyond the apparently uncertain statute definition, which itself constitutes an "effect" by skills, the focus of Tulipano is the problem of space, conceived as a field of plastic possibilities and of interaction of directionality and volumes, often conflicting.
Moreover, it is important to point out that the most pressing factor is not merely aesthetic, but the clarity of the invention: not visual hedonism or executive smoothness, not the elegance of outline and design, but the intensity of thought and the consistency of its translation in work of genius.
The most typical sculptures of Tulipano arise from graphic studies and they find immediate implementation in small and medium-sized objects, made with cardboard and pistolegno, but already conceived and then developed in the architectural proportions, with building materials such as steel, iron, glass, polycarbonate, concrete, plasterboard.
In their two planned phases of consecutive existence (both equipped with own autonomous value), they are not to be understood neither like “maquettes” of hypothetical futuristic buildings before, or like architectural structures after: the prerequisites, purposes and creative attitude are completely different. Those of Tulipano are and remain always sculptures, originated from an impulse of strong imaginative freedom; maybe (in their version on a large scale) navigable by the viewer, but they are destined especially to test formal solutions that find their reasons in calculated “accrochage” of modules and elements, in the calibrated articulation in the space of full and empty spaces, light and shadow, colours and non-colours. If the goal of Architecture is to create places, necessarily responding to practical and functional objectives, Tulipano’s work refers, first, to a perspective of pure artistic research, although possible applications in the field of urban planning, public construction industry and also performative-relational connotations are not excluded. In the case of the "Pavilion" presented in Como, however, we are witnessing at an unusual inverse mind circuit, as the sculpture takes environmental dimension and it becomes an exhibition space for further works.
A final important consideration: the works of Tulipano are not and neither want to be pure combinatorial games. Rather they are as meditations on the meaning of the sculpture, on its possible development , and on the nature of the mechanisms of ideation and realization of the artistic object. In common with the "vitalist " and "organic" current, there is attention to the creation process: in the production of Salvatore Tulipano we assist to the movement of form in its self-generating, but this dynamic is not in “biomorphic” terms, but according to controllable and linearly directional coordinates, although irregular and anti-eurhythmic. Do not forget that we are in the era of computers and artificial intelligence!
The visitor is invited to "enter " in the works, both metaphorically, at the conceptual level, both in the real sense, in concrete "monumental" implementation of the Sculpture; he is powerfully involved on perceptual, psychological and proxemics, when not directly interactive levels. In this way, potential of the virtual work of Tulipano are conducted to the highest degree.

- Paolo Bolpagni -


   Artistic research of Salvatore Tulipano is situated on an aspect of strong formal and conceptual loyalty.
His artworks are complex tridimensional objects, characterized of a strong speculative-projectual vocating, inspecting the relations between sculpture and architecture, activating aestethics and semiotics reflections of high importance, and perceptual circuits sometimes destabilize (called “ostranenie” by russian formalists). Beyond the statute explanation founding an “effect” induced with ability, on “thought mechanism” level, the attention of Salvatore Tulipano is focused on the question of the space, conceived like a field of plastic possibilities and interaction of directionality and masses (in physical and not sociological meaning) often contrasting.
The most typical sculptures of Tulipano are made in medium-small sizes in pressed cardboard and pistolegno but they are already conceived to be realized in architectonic proportions, with building materials like steel, iron, glass, polycarbonate, cement, plasterboard.
During the two consecutive existence projectual phases (both provided with own autonomous value), these sculpture are not to be interpreted neither like maquettes of hypothetical and future buildings, neither like deconstructivist architecture structures because prerequisites, purposes and creative attitude are totally different.
Tulipano’s sculptures are and remain sculptures; they can be crossed by the viewer - if they are realized on a big scale - but these sculptures are focused on the experimentation of formal solutions, finding their reasons in the thoughtful accrochage of the elements, in the calibrated connection into the space of full and empty spaces, lights and shadows, colours and not-colours. If the purpouse of Architecture is to create places, responding to practical and functional aims, Tulipano’s artworks refer to a pure artistic research prospective, without any practical implications.
He employes a clear geometric imprint and, while he rejects the curved line and the simmetry and orthogonality principles, he contributes to stimulate a wanted instability and progression sensation: dynamism and obliqueness are dominant, “fervour” balancing the “detachment” of the constitutive ingredients. In particular, in Deconstructionist Aesthetic Project is like we are attending to the movement of the form in its auto-producing; but this doesn’t happen in organic terms, however on the basis of controlled
coordinates on rational basis, although irregular and anti-proportioned. The viewer is invited to enter into the sculpture (both metaphorically on a conceptual level, and factually in the “monumental” realization of the sculpture) and he is involved on perceptive and psycological level, sometimes directly on the interactive one ; in this case the sculpture Deconstructionist Aesthetic Project esplicates own virtuosities.

- Paolo Bolpagni -


   I had to follow Salvatore Tulipano as Professor of History of Contemporary Art at Academy of Fine Arts in Naples, during his years of residence and studies at the Academy, appreciating his seriousness and consistency. It’s rare to discover a methodological approach like his one and a “concept” about the Sculpture so definite in a student career. Some of his recent works shows a clearness of intentions and a peculiar maturity even from the point of view of theoretical, in a line of great topicality and unexpected developments like in that one of the relation between Sculpture and Architecture.

- Valerio Rivosecchi -


   The artistic work of Salvatore Tulipano is structured from beginning of his scholastic career in terms of high artistic aspect, because Tulipano was able to conjugate the planning method necessity, that the research would reflect and the safeguard of the creative freedom, that an excessive formal severity can limit. Tulipano’s search is based on a new reading of that language, born around the American and European 60 and 70’s Minimal Art with a difference, respect to that experience, he added an “architectonic” view to plastic/object aspect of the Sculpture, with some works understood with models in scale of complex and large constructions. I’m sure that Tulipano has got the linguistical instruments to becoming a plastic architect on the first line.

- Ciriaco Campus -