A cognoscente of the human body, Adriano Bozzolo deconstructs and rebuilds according to his own concept of ideal proportion. The more recent bronzes indicate the intelligence and profound seriousness which Bozzolo has brought to his quest, a creative endeavour which expresses itself through a new figurative dynamism which can be defined as ascetic, since it is achieved by simplicity, solemnity and certainty.

In this day and age when (without wishing to discredit good work produced by talented artists) insignificant results carried out by exploiting the ability of honest craftsmen are acclaimed as masterpieces, this sculptor's work represents and honours man's mind and labour.

A lucid awareness of self and of the foundations of his art has often led Adriano Bozzolo to place himself in eccentric positions with regard to fashions, even when pressing market needs might well have disorientated him and opened up tempting compromises. The equilibrium that has been reached at present is the best proof of this steadfastness, also because it is constantly placed under rigorous self-critical scrutiny.

…In this way, Bozzolo's work offers, in its "classicism", continuous reference to ideal forms. In particular, the accentuated verticality of the sculptures, the vibrant tensions of the figures, alone, or united in symphonies of space and volume, go beyond space in search of cosmic alliances…

…Among his most recent essays the tense, plastic scanning of the adolescent figures are to be stressed. There is a tension that makes them vibrate like arches submitted to the maximum flexion. In the feminine groups the dancing cadences are held in a harmonious and geometric equilibrium that softens the dynamic projection of the single figures. In these human descriptions on perceives a spiritual longing, one senses the reasons for a sounding into the sphere of the invisible...

... Bozzolo's figuration, one could say, is deriving from problems similar to those put forward by Archipenko: the elongated linear beauty, be it yet in organic key and linked to the formal compactness of the figure. A seriously prepared artist, be concedes nothing to hedonism, while he also lays a stress on the preciousness of the matter, scabrous and sensitive, in order to come to the essence of the image which is carved out and vibrant in an abstract space drawn by the forms...

Adriano Bozzolo pours a dramatic charge into his vision that bursts forth with a dynamical lyric full of essentialism.

For Adriano Bozzolo sculpture is a fact in which craftsmanship and creation are fused together by virtue of a meditation of cultural values effected in full respect o: rules of harmony transmitted by tradition. This does imply his passive acceptance of the art of the past; he, on the contrary, builds on that solid basis his own poetical language made of luminous vibrations, of a dynamic tension of the figure and of a synthesis obtained through the conquest of a stylistic module deeply meditated upon and dominated by a constant sense of rhythm.

...For years Adriano Bozzolo has been dedicating himself almost exclusively to studies on themes of dance and music, and in the bronzes of the " group dance " he affronts and resolves difficult problems of composition. Above all you are hit by these groups of slender and stretched-out figures, whose necks and limbs recall the Siennese painting and Modigliani. There is in them a happy outburst and, at the same time, a remarkable sense of rhythm; and also, we would say, a longing for a liberation from the slavedom of the matter...

This great sculptor, whose simple sketches are like dance steps, bursts into space and quivers of life, makes bronzes of a truly extraordinary expressive strength. In love with music, dance and movement, Bozzolo expresses in his work a desire for clearness and serenity.

His young adolescent have the grace and fragility captured alive. A shoulder, an extended leg, a stretched back, clasped hands are disposed with firmness. No excess, no extravagance. Simplicity, sobriety, sureness. Life. A thirst for light.

... we look at in general to his creative experience and we tell sudden that the sculpture of Adriano Bòzzolo is an aesthetics truth not canned on the canons of the figurative literalism (Messina) or on those of the pure formal search (Giacometti) or even of the analysis for suggestions (Moore), but rather tended a caste vibration of the shaped image, aflutter of iridescent feelings and far from ambiguity of style.

The plastic qualities of Adriano Bozzolo have been for some time pointed out for their expressive firmness that imprints them, the dynamism of their forms and the vitality of their images. They have, however, yet another gift which perhaps wrongly has not been stressed enough and which could be defined as a sheer psychological moderation. In fact, this young sculptor is a direct descendant of those Lombardian artists who expressed the doubts, the excitements and the aspirations of their spirits. For Bozzolo, who has gone through many painful experiences (which, however, have never been embodied in any o£ his artistic seasons), modelling represents his way of freedom and catharsis as a man and an artist. It is as if he spreads out on a suffered reality a veil of alternated and repeated plays of consolatory images, and his work is richer when that kind of world, which is at the same time primitive, innocent and magical, becomes simultaneously dream and symbol. Sublimated in a different reality.

With Bozzolo the recuperation, 1 dare to say almost the captation of an ancient law of proportions and harmony just as the millenniums have taught him - is in his way an abstraction: an abstraction from so much avant-garde and experimentation, an aim in themselves. His typology, by no means archeological, even if it contains the Alexandrine style in his rapid grasping of a movement of an action in their immediate happening, represents a " humanistic " re-proposal so little attempted today.

To maternity, to the dancing adolescents in a sure, elegant and rhythmic execution the sculptor entrusts the task of making evident all that man carries within himself and of which he is intimately conscious: the never lost aspiration to poetry and love, that, however disappointed and mocked they may be, are the protagonists of his work.