Through a series of photo galleries, here is a journey through the sculptor's works, divided below into the most typical types of his work.

About a vase (from 1950 to 1967)

The vase, the archetype of every ceramist, is at the centre of the research of Carlo Zauli's early period. After leaving the Art Institute in Faenza, he immediately dedicated himself to contemporary production, innovating techniques, shapes and decorative choices within a few years.


Natural vibrations (from 1967 to 1993)

At the end of the 1960s, Carlo Zauli deepened his most accomplished research, starting from primary forms furrowed by the vitalistic and material tremor that became the centre of his artistic career. The geometric solids seem to naturalise and pervade with intense sensuality thanks to endogenous movements that reveal themselves on gently moving and sinuous surfaces. The perennially fragile balance between these formal opposites becomes the key to the strong interest in Zauli's work on the part of distant cultures, especially the Japanese, in whose philosophical dialogue between ying and yang, by his own admission, the artist perfectly recognises himself. This dynamism, continually reshaped in the years to follow, sometimes goes so far as to lacerate these forms, allowing their rough inner material to be glimpsed and unleashed.


Geometric research (from 1966 to 1987)

It is through research in the field of ceramics in industrial design and the creation of increasingly regular and perfect vases that Carlo Zauli deepens his distinctly geometric sculptural research. From the high reliefs of 1966 to the sculptures of the late 1980s, geometry continuously becomes the main theme linking the artist to his own material sensitivity.


The Distorted (1976 to 1987)

Even after reaching full sculptural maturity, Zauli does not abandon the first object of observation – the vase – breaking it, tearing it, turning it upside down, and including it in the same metamorphosis of his primary geometric shapes. Thus came to be, in 1976, the Distorted Vases, torn or bent by a violent gesture, and in 1987 the Distorted Sensualities, vases that close up to become modules for a final, dramatic sculptural evolution of the artist.


The clods (from 1972 to 1987)

It is especially when Zauli deals with the theme of the clods (of clay) that he explicitly conveys the intimate symbiosis of his work with the earth. Earth, thus, is considered both a sensitive material and the starting point for all ceramic and non-ceramic works, as well as an actual geographical root. Works such as le Arate (the ploughs) or le Zolle (the clods), are created with an assembly of real clods of clay taken from the mixer and directly applied to geometric supports. Through their irregular morphology, they express the primordial strength and rough consistency of the material.

For more information on cataloguing, contact the Administration Office, or consult the website of: Institute for Artistic and Cultural Heritage of Emilia Romagna.
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