The works in this exhibition were created in Canevari's studio in Amelia, an ancient hill town in Umbria where he spent most of the last thirty years of his life. They were made between the early 2000s and his final years, and his passing in 2014 prevented him from presenting this crucial body of work to the public.

In the Strutture a lifetime Canevari spent in ink drawing and lost-wax bronze casting converges in an opus that represents the culmination of his creative journey. The line that had always moved across paper now moves through space. The interior armature that the great bronze founders buried inside their finished surfaces is here offered without concealment, structure and subject simultaneously. What results are figures that hold the energy of a drawing and the authority of a monument without being fully either: a warrior, a sacred presence, a legendary queen, an ancient emblem, each carrying the full weight of its iconographic tradition in a form that seems always on the verge of becoming something else.

What the Strutture propose, and what makes them unavoidable in any serious consideration of where figurative sculpture stands, is a resolution to one of the central tensions of the postwar period: how the figure survives without nostalgia, and how structural logic carries meaning without becoming illustration. The open armature is the answer. A Struttura is simultaneously a figure and a drawing and a structure, never fully resolving into the representational image it nonetheless unmistakably is. The depth of the research behind this, the technical mastery, the historical knowledge, the formal precision, is what makes the resolution convincing rather than programmatic.

Novelist and theater director Andrea Camilleri, whose decades-long creative exchange with Canevari was one of the defining relationships of his artistic life, described these sculptures as using not only space but above all time as an essential compositional element. The Strutture are where that formulation finds its fullest proof. Made in the last years of a working life that began in the early 1950s, never shown until now: they enter the room carrying everything.