Alessandro Vergari's Ri-Totems: Sculptural Guardians of Ecology, Myth, and Modernity

Alessandro Vergari's body of work stands as a remarkable testament to the fusion of contemporary ecological consciousness and a deep connection to mythic and ancient forms. His sculptures, which he calls “Ri-totems,” take their inspiration from the symbolic totem poles of indigenous cultures but transform this tradition into something entirely modern, engaging with environmental critique, recycling, and the subtle play of human creativity against the backdrop of natural decay. What makes Vergari's work especially compelling is his ability to channel the deep, ritualistic power of the totem while incorporating elements of humor, whimsy, and a sharp awareness of the materials he uses.

In the vein of influential 20th-century sculptors like Louise Nevelson or Jean Tinguely, Alessandro Vergari makes use of found objects—discarded wood, rusted metal, and other remnants of industrial society—to create works that feel as much like relics of a forgotten past as they do harbingers of a possible future. Like Nevelson, who famously assembled her monochromatic "walls" from urban debris, Alessandro Vergari reclaims materials from the detritus of human consumption. Yet, where Nevelson sought to create dense, almost architectural sculptures, Alessandro Vergari’s totems are lighter, more open, existing in dialogue with the landscape around them. This is particularly evident in the way he places his sculptures within natural environments, such as woodland trails, creating an interaction between his works and the organic surroundings that both amplifies their meaning and provides a stark contrast to the manmade materials of their construction.

Alessandro Vergari’s piece, "Spadellino: Little Pan" (2023), exemplifies his playful yet profound approach. Here, we see a rustic wooden figure crowned with what appears to be an old metal pan, transformed into a mask-like face. The juxtaposition of the materials—warm, textured wood against cold, rusted metal—creates an aesthetic tension, yet the piece exudes an undeniable charm. This reconfiguration of industrial remnants into anthropomorphic figures calls to mind the kinetic sculptures of Jean Tinguely, whose works were also made from discarded machinery. However, while Tinguely’s art was often about the movement and function of machines, Alessandro Vergari’s work is rooted in stillness and symbolism, as though the figures were ancient guardians, standing watch over their domains.

Another striking work, "Casta Diva" (2023), uses a similar blend of materials, but the addition of a crystal ball adds an element of the mystical. The combination of iron and wood here feels less whimsical and more reverential, the piece taking on an almost sacred quality. This sacredness is not unlike the totems of indigenous cultures, where objects and forms are imbued with spiritual significance. Yet Alessandro Vergari, ever the contemporary artist, doesn’t allow his works to become overly serious or remote. There is always a trace of the absurd in his art, as if he is reminding us that even in the act of creating something spiritual or profound, there is joy and humor to be found in the material world.

This sense of playfulness reaches its apex in "Balabalobo" (2024), an ephemeral installation on a beach made from palma wood, a squid bone, and plastic caps. The impermanence of the piece, combined with its almost childlike assembly of disparate elements, speaks to the fleeting nature of existence. Alessandro Vergari understands that his art, like all things, is subject to decay, to the passage of time, and in this way, his work resonates with artists like Joseph Beuys, who similarly incorporated organic and degradable materials into his sculptures. Yet, unlike Beuys' often somber explorations of death and decay, Alessandro Vergari’s work feels more like a celebration of life’s transience. His totems are, in a sense, memorials to the fleeting moments of beauty we encounter in the natural world.

In his night installation "Ferruccio e Caterina" (2019), Alessandro Vergari creates towering figures from rusted iron, their forms illuminated against the dark backdrop of the forest. The piece recalls the monumental works of David Smith, another sculptor who made use of industrial materials to create imposing yet graceful forms. But where Smith’s works often emphasized abstract geometric relationships, Alessandro Vergari’s totems are deeply figurative, even narrative, each one telling its own story through its unique combination of objects. The inclusion of lighting in this piece is particularly effective, casting long shadows that bring the sculptures to life in a way that feels both eerie and magical. It’s as though the forest itself has become a stage, and the totems are the actors, performing some ancient, unknowable ritual for those lucky enough to witness it.

Alessandro Vergari’s more whimsical side is evident in "Fantasma formaggione: The Fat Ghost" (2023), where he combines wood, metal, tissue, and light to create a figure that feels part ghost, part comic character. The use of LED lights within the sculpture gives it a sense of animation, and the title suggests a playful engagement with the idea of ghosts and spirits. Here, Alessandro Vergari seems to be poking fun at the very concept of the totem as a serious, spiritual object, suggesting instead that even ghosts can have a sense of humor.

In works like "Pastorone e Miss Moss: Big Shepherd and Miss Moss" (2023) and "Googlem" (2019), Alessandro Vergari continues to explore the idea of the totem as both a guardian and a character. The anthropomorphic forms of these sculptures, made from wood and metal, have a distinctly narrative quality, as though they are characters in a forgotten myth. In this way, Vergari’s work connects not only with the sculptural traditions of the past but also with storytelling, each piece inviting the viewer to imagine the world from which these figures might have emerged.

The use of light and shadow in his installations, particularly in pieces like "Beghellion" (2024), a chandelier made from rusted tin, further underscores the ritualistic quality of his work. The chandelier, suspended above the viewer, casts a web of shadows that transforms the space into something sacred, yet Alessandro Vergari’s choice of materials (rusted tin, no less) ensures that the work remains grounded in the everyday, the humble, and the recycled. This tension between the sacred and the mundane is one of the defining characteristics of Alessandro Vergari’s oeuvre, and it is what makes his work so resonant in today’s world.

Alessandro Vergari’s art, though steeped in references to the past, feels utterly contemporary. His use of recycled materials speaks directly to concerns about sustainability and the environment, while his playful approach to form and narrative ensures that his works never feel preachy or didactic. Instead, his totems invite us to engage with them on a personal level, to find our own stories in their forms and materials. In this way, his work recalls the relational aesthetics of artists like Rirkrit Tiravanija, who similarly sought to create works that foster interaction and connection between the viewer and the art.

Alessandro Vergari is a master of the contemporary totem, an artist who understands the power of objects to convey meaning, emotion, and memory. His ri-totems, with their blend of humor, reverence, and environmental consciousness, stand as monuments to a new kind of spirituality, one that acknowledges the beauty and fragility of the natural world while also embracing the absurdity of the human condition. Through his work, Vergari reminds us that art, like life, is a process of constant transformation, a dance between creation and decay, between the sacred and the profane. His totems are not just sculptures; they are living, breathing entities, guardians of the forest, the beach, and the gallery space alike.

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Alessandro Vergari

Billy Moro-Wey

Baiba Abelite