Oltra la paura (Beyond Fear)

It is a Nordic archaism in search of its own future. At the dawn of a new millennium, Adami questions the possible existence of a new classicism — one capable of reinterpreting, in modern terms, those aesthetic canons and lessons that the Greeks, for example, encapsulated in the concept of the golden ratio and the calculation of proportions. 

Adami’s woman is hieratic, capable of enveloping an implicit core of strength that the stone — sometimes polished, sometimes opaque — seems to exude. The verticality suggests monumentality, constant vigilance, attentive presence. 

Following the natural rhythm of the seasons, families once gathered to carry out manual tasks, and there was always someone able to entertain others with folk songs, legends or anecdotes. This rich oral tradition, still precious today, is preserved and enhanced thanks to the commitment of cultural associations and passionate individuals who keep these stories alive. One of these enthusiasts was the Carnic artist Domenico Adami. 

Drawing from memories and stories heard since childhood, he created sculptures in clay, wood and stone, offering his personal interpretation of heroes and mythical figures. He shaped and carved with mastery, reliving legends and encouraging reflection on the moral values they convey. 

The sculptures of Domenico Adami — including this one created in Reana del Rojale — represent a committed search for the most meaningful values of local culture. 

Through the study of forms from the past, Adami produced works rich in symbolism. Beyond Fear expresses the will to overcome one’s limits, the strength to look toward tomorrow while relying on one’s cultural roots. 

By following his own history and knowledge, the artist allows the form to emerge, delineating a female figure — woman-mother-earth — who reminds us where we come from and who we are.

Domenico Adami was born in Cercivento, a typical Carnic village rich in culture and popular traditions that were always dear to him. He spent much of his life in Ravascletto. 

He drew inspiration for his sculptural research from childhood memories and stories inseparably linked to his homeland, yet marked by deep and conscious elaboration. He began exhibiting as early as 1973, the year of his first solo exhibition in Lignano (Udine), and continued to exhibit in other Italian and international cities with growing success until his passing in 2023.