The sculptor Angelo Alessandro Minuti has behind himself an apprenticeship of all regards since when he was very young he attended the course of sculpture at the Sforzesco Castle and the atelier of well-known masters as Furla, Mazzolani and Pepe.  
The realization of works of great dimension and great commitment, both private and public, in Italy and abroad, has given him a meaningful fame, it's enough to think about the fountain in the Napolitano hotel complex at Cervinara, the monument to the fallen for the Torlino Vimercati Municipality (Cremona), a Saint Francis at Manfredonia, a Pope Giovanni XXIII at Lissone, the portraits of the brothers Brusamolino at Cassano d'Adda, of Pavarotti and finally of Pope Giovanni Paolo II at Cervinia.  
Lately a great exposition at the Basilica of St. Anthony in Farini Street, with traces of sacred that beat the recent meaning of his work concerning the theme of the river. River- metaphor, as the deep meaning of the whole, forming and shaping and the passing of life and a time wrapping all and beating the life of all things and the whole of creation. 
Minuti is not a sculptor just any, since first of all he knows very well the matter. He works mostly the clay that becomes then terracotta, in its natural colour, sometimes streaked, and conforming the impasto.  
The theme of the river for a Lombard as Minuti is (he was born at Romano Lombardo in 1947) is a vital element, since Lombardy is still the land of the Po valley, made of rivers and shipways, of happy waters having made history from the times of Leonardo da Vinci. 
Modern and ancient this sculpture of his, since it binds the research to tradition and experiments with a primigenial time, infant, an ancient echo breathing the universal.  
The preciousness of colour, partly natural partly dusty, reddish, earth-like, as the most of the Etruscan works, and the reds of the Lombard churches, make understand that these forms by Minuti configure a bond to the sense of the myth, of the mythological, of the sacredness; this matter feeds then also from light that beating over it makes it living more, enriching the mix of tones from the orange-coloured to the whitish. 
What's more fascinating is that from this sinuous, serpentine matter, from these magmatic waters,  figures rise, some male and female faces, goddesses and gods, for the move of waters, even allowing catching a glimpse of the profile of faces, frees in the wave-like movement of beards and abundant hears.  
These faces are static as waves and the water are, with their geometry of faces caught in front or in profile, within an harmony often gathering also erotic tensions.  
Minuti has understood that giving form to matter is the basic project of making sculpture, and that any metaphor, any analogy any reflection ascertain in this neo-classical resumption of his research, already well-know all over Italy, having works present, as the earliest one, also in the Contemporaneous Art International Marian Museum) of Alessano, related to the foundation of the well-known bishop Monsignor Antonio Bello, prophet of peace.  
To the air figures of these matters touched by the hands of our Lombard sculpture is entrusted the amazed gracefulness, the beauty, the charm of existence. 

Krisztina Megyeri arrived in Italy from the Hungarian plains where she was born in 1970, and lived at Milan where she practices professionally as a sculptress since 1992.  
Meeting her and listen at her expressing her own creed and feelings, mainly that sacred will to communicate also in words what you can see in the material she works, in the material becoming sculpture, plastic art, creation. 
This first data I insist on and that moves the scenography of the entire sculpture of hers, starts just from that context of provenance, from the east lands that have shaken off the darkness of the private freedoms; that's why the path of the sculptress goes humanely and culturally the contradictions of a revived Europe and that finds it hard to end the millennium and start a new one. 
Her atelier is in the surroundings of Milan.  
In this ground floor atelier overlooking a big yard where a series of laboratories open onto, the young sculptress gives life with selected clays and enamels chosen personally in Germany, to sculptural forms of refined harmony and sensibility. 
Neither bronze nor other materials, as wood or marble, but only earth, the clay, a choice that relates better to the constructive making, to live the impasto giving memorial form and expressiveness, to sage ritualisms, poetical choices becoming plenty of symbols. 
One of the strong themes and plenty of sense of the earlier works, is that relating to man, to the sacredness man-God, to the Crux. Her fervent sensitivity toward the man that suffers brings her to interest to that part of the history sensing the victim.  
The Crux, the totem, the verticalness of life objectify in a material raising to heaven, justifying plastically on the sides having excrescence, streaks, as an energy moving in a painful body. 
The crux, we was saying, symbol and metaphor, but also the crucified body, with its anxiety and tremors, its fairs and its intensive placing in this century, so-called brief, since that two serious wars. 
Ancient and moderns cruces, from the Hebrew to the Greek one, with the fragility of fleshes that rivets even today with the tortures all over the world, where the terra cotta reveals elements as hollows, folds, nests, mouths, ears, feet. Symbolic and constructive values pouring into that spur. 
This way Megyeri brings this material to an ancient history that is the history of man and world, growing in memory and defining itself in space and time, as splinters that settle with layers, feeding the geology world. 
This point the rituals are structured, vertically and horizontally, putting the material not under vacuum but under thrust, and in silence exhaling echoes of poetry of a poetry pervading also the sculpture having not figural characteristics, but that has the beats of life.