Among the greatest sculptors of the late twentieth century, Fausto Melotti (Rovereto 1901, Milan 1986), and Giuseppe Spagnulo (Grottaglie, Taranto 1936-2016), are like two very different branches, but coming from the same trunk: the same great love for Classical Greece, the south of our origins, archaic sculpture and the myths of a primordial civilization. In Melotti the great interest in Minoan and Mycenaean art, and the mythological tales of Zeus, Orpheus, Dionysus, Demeter, up to Solomon, always intertwined with the search for the origins and why of the creation of the world, in a ceramic and a sculpture dematerializes , lyrical, light. In Spagnulo, always the dream of an original, primordial, lava material, in a neo-primitive sculpture each time captured in its initial forms and gestures.

A single origin, declined in two opposite and complementary conceptions. In Melotti the two great themes that found Plato's philosophy, the mithos and the logos, the two antithetical forms that must integrate, and which describe and investigate the mystery of life and being. On the one hand, the myth as a tale, narration, plausible story, to explain what logic and reason cannot explain; on the other the logos, reason, its perfect image "according to shapes and numbers" (Plato, Timaeus).

In Spagnulo, the recovery of a primordial, original sculpture, where archaic Greece is intertwined with its very ancient sources: the large stone blocks of ancient Egypt. Barely outlined shapes, fundamental gestures modeled on the square, the rectangle, the circle, where before any speech and story, before any anthropomorphism, the simple and pure image of a shape imposes itself with its powerful presence. So to Melotti's stories and logical and mythological elaborations, Spagnulo responded with his simple being, an unknown that appears, before any discourse, any hypothesis, before any opinion.