The way Guido De Zan conducts his research, moulding the stoneware directly, elevates randomness of form to the ultimate, decisive drafting of his works. He shapes the material, determining its outline, but the shape comes to life in the firing, changing once again as compared to his original intentions.
This is what has occurred in Verba Volant, made up of twelve stoneware sheets, hung on the wall in disorderly fashion. The undulation they have experienced has given them an appearance of lightness, making them like floating surfaces, similar to paper.
The misleading effect of material is something like the common denominator in De Zan’s sculpted forms. They are enhanced each time by signs, quickly incised in the clay or else just traced on the surface, which have much about them of the ideograms of many Eastern forms of writing. The sculptures reveal an approach to the painterly and the material founded on equilibrium, as well as the attractiveness of all his work.