I have known Guglielmo Malato for over 30 years and I have often shared with him - besides the essential artistic value of his works - his methodology and activities from the initial to the final stages of his perception and interpretation of the subject. I only had to discover it directly through a complete creative route, along the continuum of the concrete carrying out of the work, so enthralled in the visual arts, where everything is always so faint, so tenuously trapped between the imagining and the building, between the impulse of imagination and the rigidity of technique.
I had that occasion when Fapim decided to commission Guglielmo a sculptural triptych, grounded in the company's philosophy, that was to be located in the plant in Altopascio.
It has not only been a question of observing with curiosity and interest, but of participating in the final location of the work. From this, an interesting course emerged, rich in ideas, contributions and indications, including those of the many persons (the managers themselves, their collaborators, workers, and artisans), who took part in the final choice.
It was then natural to locate the sculpture on the ground floor of the office building in the wide hall with the stairway. That appeared to be the most suitable location - in terms of size, shape and lighting - and the most corresponding to the characteristics of the sculptures. If you add that the view from above, from the two balconies and from the staircase itself, it enhances the plastic dynamism, the visual discovery, the changeable interpretation of the whole, no longer seen only from the front, but evaluated and understood in a three-dimensional context : you thus receive the satisfying sensation that you started and finished, enjoyably and properly, a gratifying experience of contemporary art.


Vincenzo Regoli