This exhibition displays eight of Alviani’s notable series: Tensione, Superficie a testura vibratile, Rilievo speculare a elementi curvi, Struttura speculare a elementi quadri, Cerchi virtuali, Quadrato+cerchio=volume, Inscritto nel cerchio, and Cromia.
Tensione
Created through the density of lines and the arrangement of geometric shapes. Getulio Alviani used the interlacing of vertical and horizontal lines and curves, coupled with combinations of circles, arcs, and rectangles to build optical illusion in viewers’ eyes. When it comes to programmed art, viewers’ retina will be guided by the visual effect, which induces focus and divergence of visual channels. Under a series of perceptions, viewers will see the vibration of images and lights in the art works. This is an impact arising from perception rather than concept being internalized.
This effect originates from the actinic effect and the brain reaction, along with a bit of resonance in mind.
Tensione © Centro Studi e Ricerche Getulio Alviani
Tensione © Centro Studi e Ricerche Getulio Alviani
Tensione © Centro Studi e Ricerche Getulio Alviani
Tensione © Centro Studi e Ricerche Getulio Alviani
Positivo negativo Artist proof © Centro Studi e Ricerche Getulio AlvianiSuperficie a testura vibratileThe structure of the metal surface emits luster, showing rich textures and abstract brilliance, while its material brings out the reflection changes in viewers’ eyes , that are captured by the vibration that changes depending on the angle of observation; are these works planned with perfect execution without defects. Alviani realizes his researches through the use of new materials, mathematical calculations and geometric principles, and a precise study on the incidence of light on the surface so that it can vibrate. , . The glossy and matt texture of the surface will continue to change according to viewers’ perspective, thus also repeatedly stimulating viewers’ visual perception . In this way, viewers would be attracted to the light as it changes and reflects.
Forma © Centro Studi e Ricerche Getulio Alviani 
Disco © Centro Studi e Ricerche Getulio Alviani 
luce rotante superficie tornita -superficie a testura vibratile © Centro Studi e Ricerche Getulio Alviani 
Superficie a testura vibratile © Centro Studi e Ricerche Getulio Alviani 
Superficie a testura vibratile © Centro Studi e Ricerche Getulio Alviani 
superficie tornita 4 ¼ di disco © Centro Studi e Ricerche Getulio Alviani 
Superficie a testura vibratile alluminio luce e opaco © Centro Studi e Ricerche Getulio Alviani 
Superficie a testura vibratile © Centro Studi e Ricerche Getulio Alviani 
Superficie a testura vibratile © Centro Studi e Ricerche Getulio Alviani 
« 1.2.3.4.5.6.» esagono © Centro Studi e Ricerche Getulio Alviani 
«3 2 3» superficie a testura vibratile - studio © Centro Studi e Ricerche Getulio Alviani 
Superficie a testura vibratile - Studio © Centro Studi e Ricerche Getulio Alviani 
Superficie a testura vibratile studio per prospettiva © Centro Studi e Ricerche Getulio Alviani 
Superficie a testura vibratile © Centro Studi e Ricerche Getulio Alviani 
Superficie satinata © Centro Studi e Ricerche Getulio Alviani 
Quadrato virtuale -superficie a testura vibratile © Centro Studi e Ricerche Getulio Alviani Struttura speculare a elementi quadriWith reflective surfaces, reflection, light source, visual angle, and movement, together they invite vibrancy of the object and movement of viewers; these two elements incite perception and mutual relations; the combination of the two then breeds situations.
1. An object is static, and, under a specific setting, its structure takes on different forms according to the environment it resides in.
2. An object displays behavior conformation specific to each individual viewer.
3. Viewers have different experiences upon the same work depending on the environment and their movement.
4. The work itself accumulates images conformed from different viewers.
5. The work becomes a collective of objectively dynamic situations.
Struttura speculare a elementi quadri © Centro Studi e Ricerche Getulio Alviani 
struttura speculare in alluminio+colori verde e rosso© Centro Studi e Ricerche Getulio Alviani When a dialectical idea of structural designs has been formed, the design of a piece of work, or some people refer to as the elements for communication, will take shape through ways that are basic, minimalist, proportionate, coordinated, and orderly. This principle exists to initiate as much autonomous interaction as possible, so that total presentationablility can be obtained.
The structure, both as an individual and as a whole, complement each other, where an individual has its own structure of perspective, while the individuals still correlate with one another, in terms of their presentation in mathematics and proportion. Through exploring the essence of individuals and discovery, the desired optics and vision perception of the overall structure can be achieved; for instance, the individual and overall structure of a building.
Rilievo speculare a elementi curviAlviani’s skillful arrangements of aluminum and steel made the most of light as an element to create a light visual display with its shape constantly changing. It was unprecedented in the history of art, where light, used as a material, can be quantified and transformed into an art form that has rhythm. Perceptions are interconnected and dynamic in an orderly world. Each volume or object can be an ongoing experiment, triggering an inner vitality that continues to expand and grow infinitely.
Rilievo speculare a elementi curvi © Centro Studi e Ricerche Getulio Alviani 
Rilievo speculare ad elementi curvi © Centro Studi e Ricerche Getulio Alviani Quadrato+cerchio=volume
inscritto nel cerchioAccording to De architectura (On architecture) by Marcus Vitruvius Pollio, the architecture of the temple reflects the proper proportions of the human body, which can be inscribed in a circle and a square. Piero della Francesca, on the other hand, also adopted circles and squares to express the logic of the creation and operation of all things in the universe.
Architecture, for another, emerged from the use of square rulers and compasses to design objects and draw blueprints. Alviani’s
Quadrato+cerchio=volume opera series consist of circles and squares, presenting the initial concept of the composition of an ideal world and how it works. Starting from atoms, earth, to galaxies or from linear development to architectural space, circles and squares exist as the very fundamental elements that form everything.
In addition, Alviani, with a background in architecture, adopted ideas from Vitruvius Pollio and Francesca by expanding the use of squares and circles for geometric design. The use of bright color sequences (red, orange, yellow, green, blue, indigo, and violet) makes the shapes of polygons stand out progressively. In such an ideal world, colors, angles, polygons, progress, movements, and the rainbow colors are all elements that show constructions done through various approaches and the fun found in spatial arrangements.
Quadrato+cerchio=volume © Centro Studi e Ricerche Getulio Alviani 
«1.2.4 » © Centro Studi e Ricerche Getulio Alviani 
«1.2.3, 1.2.3, ..., » - cubo © Centro Studi e Ricerche Getulio Alviani 
Riflessione trasparente © Centro Studi e Ricerche Getulio Alviani 
«1.2.3.4.5.6.7.8.9.10.11.12.13.14. » inscritto nel cerchio © Centro Studi e Ricerche Getulio Alviani 
« 1, 2, 3, 4 » inscritto nel cerchio © Centro Studi e Ricerche Getulio Alviani 
« 1, 2, 3, 4,5 » inscritto nel cerchio © Centro Studi e Ricerche Getulio Alviani 
« 1, 2, 3, 4,5,6 » inscritto nel cerchio © Centro Studi e Ricerche Getulio Alviani 
« 1, 2, 3, 4,5,6,7 » inscritto nel cerchio © Centro Studi e Ricerche Getulio Alviani 
« 1, 2, 3, 4,5,6,7,8 » inscritto nel cerchio © Centro Studi e Ricerche Getulio Alviani 
« 1, 2, 3, 4,5,6,7,8,9 » inscritto nel cerchio © Centro Studi e Ricerche Getulio Alviani Cerchi virtuali“Our brain is very active, but it may shrink if not used,” Alviani added, “my projects are designed to involve viewers. The works should be able to attract people’s attention, call on wisdom, and incite imagination, so that they can complete the pieces of work in their head.”
(Excerpt from interview with Giacinto Di Pietrantonio and Getulio Alviani; published in
Getulio Alviani)
Cerchi virtuali - progressione in senso orario 1.2.3.4.5.6.7.8 © Centro Studi e Ricerche Getulio Alviani
Cerchi virtuali -compenetrazione © Centro Studi e Ricerche Getulio Alviani 
Cerchi virtuali © Centro Studi e Ricerche Getulio Alviani CromiaThe blue of the sky teaches us the laws of color and light. Light affects hue; colors neutralize other colors or alter them; illusions and parallax can dominate perception, and so on. These insights gained from natural phenomena show us that the same color will advance, retreat, vibrate, or deform due to changes in its surrounding colors; the same goes to physical space, as it also produces different shades and layers of darkness due to different incident angles of light. Should a person possess keen perception, it no longer matters to stick to the meaning of objects on the surface; instead, they should follow the rules and their instinct in manipulating color and light, which is the key to inciting creativity. Although most people still expect to find some kind of meaning that can explain what they are seeing, it is that time that they must practice paying attention to the signals and natural responses coming from within their body. For instance, viewers could follow the sequence expanding in certain directions progressively, witness sublimity within the symmetry, and experience the fullness or sharpness of the volume from the distribution and shades of the colors. Alviani once proposed a manifesto titled Pneumatic Space, discussing objects and spaces of volume varying according to their function, thus inspiring a new way of thinking where art can become an experience.
poligono inscritto nel cerchio omaggio a Yves Klein © Centro Studi e Ricerche Getulio Alviani 
Linea luce nel blu © Centro Studi e Ricerche Getulio Alviani 
Giallo=luce © Centro Studi e Ricerche Getulio Alviani 
Cromia spettologica del giallo © Centro Studi e Ricerche Getulio Alviani 
Cromia spettologica del rosso © Centro Studi e Ricerche Getulio Alviani 
Cromia spettologica del blu © Centro Studi e Ricerche Getulio Alviani 
cromia spettrologica © Centro Studi e Ricerche Getulio Alviani 
cromia spettrologica © Centro Studi e Ricerche Getulio Alviani 
cromia spettrologica © Centro Studi e Ricerche Getulio Alviani 
cromia spettrologica © Centro Studi e Ricerche Getulio Alviani 
cromia spettrologica © Centro Studi e Ricerche Getulio Alviani 
1/2 da 0 a 100, 1/2 100% offset © Centro Studi e Ricerche Getulio Alviani 
1/2 da 0 a 100, 1/2 100% offset © Centro Studi e Ricerche Getulio Alviani 
1/2 da 0 a 100, 1/2 100% offset © Centro Studi e Ricerche Getulio Alviani 
1/2 da 0 a 100, 1/2 100% offset © Centro Studi e Ricerche Getulio Alviani 
1/2 da 0 a 100, 1/2 100% offset © Centro Studi e Ricerche Getulio Alviani
