Untitled

The structure consists in vertical and horizontal elements, in another of the artist’s formal leaps, using the sharp contrast between light and shadow to accentuate the de-composition of the volume. Golden blades stick far out of the vertically-developed structure, cutting it at the centre. The design, basically similar to Mastroianni’s 1961 Figura, is a representation of the human form. Within the interlocking of abstract geometrical elements, in fact, one recognizes an anthropomorphic feature, in particular the profile of a mother with a child in her arms. In the upper part of the sculpture, two distinct volumes face one another: the first, that of the mother, is represented by shiny convex forms and shadow-holes; the second is tied to the first by a metallic graft.
The lower extremities that support the structure clearly reveal the intention to present recognizable forms. By constitution, Mastroianni is a figurative sculptor who has liberated representation from its appearances but retained the human image in its emotional dimension and substance. Mastroianni’s version of Abstraction, in fact, is a language with essentially a dual vision: on the one hand the problem of form and its plastic formulation, albeit rendered with the greatest possible internal and external dynamism; and on the other that of material, inclined to disclose, in its vibrations, the most intimate and urgent poetic meanings.