8. Alberto Scodro (Marostica, Italia 1984)
Talpidae, 2023
Materiali misti, gesso, fusioni di vetro, ossidi, legno, ferro, rame | Mixed media, plaster, glass castings, oxides, wood, iron, copper
130 x 140 x 140 cm
Courtesy: l’artista, Galleria Cardrde,
Kristof de Clercq Ghent (Belgio)

26. Alberto Scodro (Marostica, Italia 1984)
Sunflower#seeds, 2024
Microfusione, Ottone, oro
Microcasting, brass, gold
17x 26,5 x 24 cm
Courtesy: l’artista, Galleria Cardrde,
Kristof de Clercq Ghent (Belgio)

27. Alberto Scodro (Marostica, Italia 1984)
Sunflower#from, 2023
Microfusione, ottone, oro
Microcasting, brass, gold
25 x 24 x 22 cm
Courtesy: l’artista, Galleria Cardrde,
Kristof de Clercq Ghent (Belgio)

28. Alberto Scodro (Marostica, Italia 1984)
Sunflower#of, 2024
Microfusione, Ottone, oro
Microcasting, brass, gold
17 x 15 x 24 cm
Courtesy: l’artista, Galleria Cardrde,
Kristof de Clercq Ghent (Belgio)

29. Alberto Scodro (Marostica, Italia 1984)
Sunflower#follow, 2023
Microfusione, Ottone, oro
Microcasting, brass, gold
21 x 14,5 x 12,5 cm
Courtesy: l’artista, Galleria Cardrde,
Kristof de Clercq Ghent (Belgio)

30. Alberto Scodro (Marostica, Italia 1984)
Sunflower#Flowers, 2021
Microfusione, Ottone, oro
Microcasting, brass, gold
31 x 21 x 20 cm
Courtesy: l’artista, Galleria Cardrde,
Kristof de Clercq Ghent (Belgio)

31. Alberto Scodro (Marostica, Italia 1984)
Sunflower#Suns, 2023
Microfusione, Ottone, oro
Microcasting, brass, gold
22 x 16 x 16 cm
Courtesy: l’artista, Galleria Cardrde,
Kristof de Clercq Ghent (Belgio)

32. Alberto Scodro (Marostica, Italia 1984)
Sunflower#that, 2023
Microfusione, Ottone, oro
Microcasting, brass, gold
18 x 14 x 14 cm
Courtesy: l’artista, Galleria Cardrde,
Kristof de Clercq Ghent (Belgio)

Alberto Scodro (Marostica, Italy 1984) investigates the most intimate and hidden dimensions of matter, observing its transformations through a phenomenological lens that evokes both alchemical and conceptual processes—capable of generating states of imaginative and regenerative tension.
His artistic practice is rooted in the bold transformation of natural and artificial materials—sand, glass, pigments, oxides, volcanic rock, metals, plaster, and resins—which, once inert, are reanimated into artifacts exposed to time and the unpredictable phenomena of a new era.
Scodro explores matter on multiple levels:

• Social, in its marginality or improper use, often tied to subcultural contexts;
• Psychological, as that which is repressed or removed due to discomfort or pain;
• Physical, in its subterranean, hidden, and imperceptible forms.

8. In Talpidae (2023) thirteen casts of mole burrows are assembled into a sculpture with a striking vertical presence. Each element, sinuous and dynamic, reveals the shape of an environment that is invisible and inaccessible to humans. Extracted directly from the underground, these structures are not only elegant and complex formal gestures, but also vital epiphanies—emerging signs of unseen life.
Yet the process is also painful: the burrows are removed through an invasive act, echoing human interventions in nature and prompting reflection on the impact of our actions. The work draws attention to “other” worlds that silently coexist with ours—a call to reconsider adaptation in a society increasingly ravaged by consumption.

26. – 32. With the Sunflowers (2020/23), Scodro addresses the human desire to give form to the invisible—or rather, to what remains beyond our reach. In this sense, the work engages with the Absolute: an ancestral theme in art, bound to the quest for understanding what defies comprehension.
Scodro translates this tension into concrete forms, using as a metaphor a physical reality we perceive only indirectly: the Earth’s rotation. This movement is made visible through the figure of the sunflower—a flower that turns its head toward the light of the sun.
The artist unites biology and sculpture by cultivating sunflowers and following their natural cycle, from seed to bloom, before transforming them into sculptures using the lost-wax casting technique. At 1300 degrees Celsius, matter becomes a blinding white light: a symbolic and transfiguring act.
These Sunflowers become small terrestrial suns—tangible signs of a dialogue between plant and planet, human gesture and cosmic motion. They serve as visual and conceptual traces of a yearning toward the invisible, made manifest in the daily life of a flower, in its pursuit of light, and in its relationship with time and space.