At different times, Mondrian, Klee, and Kandinsky embraced the theosophical doctrine that viewed matter as an obstacle to attaining eternal sublimation.
Each, in his own way, sought to reconstruct the “thing” by dissolving it, fragmenting it, and reassembling it into suggestive traces that pointed toward an ideal realm.

Lazzaro too aspires to reach the Eternity of things. Yet, unlike those great abstractionists, he works through three-dimensional pictorial forms, pushing beyond the very concept of painting and carrying it into the territory of sculpture.
His tension toward the Infinite arises from a refusal to allow the life of an object or material to end with its obsolescence or worn-out function. He gathers what is discarded, used, or deemed useless, and restores to it dignity and purpose through new form.

In creating the object-sculpture, he recovers an archaic meaning and sets it—better, situates it—within the historical fissures of our own time, poised to unfold in endless metamorphoses.

In the expressive candor of his youth, the artist breaks away from the dependency on myths; courageous and defiant, he resists conventional channels of distribution. Autonomous and solitary in his quest, he is not seduced by the fleeting siren calls of fashion, for his need to create is inseparable from his need to live.

Thus, his message is left like a letter cast into time, inscribed on old papers, faded posters, uneven planks, and rickety iron tables that stand like deserted squares, defending the “Assault” of a ghost city.

Gabriella Ardissone