ACCORDING TO LUCIANO FABRO, sculpture is a metaphor and allegory for sculpting. The artist, then, rather than cultivating his or her own identity, must pay attention to art’s identity: must face the immensity of a flood of “things"; must question everything that seems to have been already thought out; must be willing to travel from rhetoric to linguistics to reveal the process of creativity itself. The art that emerges from such explorations will win out over any motif, found or invented; for it will serve, as Fabro puts it, as “consciousness in movement, . . . an invention that disturbs the peace, that manifests dissatisfaction, that poses the conflict between silence and stimulation.”1

"The two branches of modern estheticism,” according to Fabro—“on the one hand, the concept of the world as an ancient stage on which we can act out our dreams; on the other hand, the scientific concept of

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