Ruota della fortuna (1990) Stone cm 20
Figura oscena (1991) Stone cm 29
Il gatto (1991) Stone cm 24
Gita immaginaria alle cascate dell’Haut Xingu (1991) Colored bronze cm 22
Angelo nero (1993) Stone cm 30
The sculptures were born parallel with the first drawings, however the first works, made of carved wood, were almost all destroyed. Some large abstract or semi-abstract works remain from this initial phase: signs carved into old wooden planks from a stable. Wooden sculptures were soon joined by stone sculptures, generally large pebbles or small rocks, only in exceptional cases marble or sandstone. There are also examples of mixed-media sculptures and a case of bronze sculpture (sand casting). Except for some wooden ‘signs’, which exceed two meters in height, the dimensions of the sculptures are modest.
The forms are consistent with the phases of the drawing and evolve in a short time from an expressionist and Afro-surrealist figurative matrix to a more simple and often abstract primitivism.
2006
Tinti, Gabriele, «Cristiano Berti», in Le Marche e il XX secolo. Atlante degli artisti, ed. by Armando Ginesi, Milan: Motta, p. 149
1993
Massara, Gian Giorgio, «Lo scultore Cristiano Berti», Nostro Verde (Turin), XX, 8: October, p. 7
1992
Apa, Mariano, «Il ritorno al primitivo di Cristiano Berti», Il Corriere Adriatico (Ancona), Cultura & Società, CXXXIII, 137: May 20, p. 9
Cantarini, Bruno, «Berti: primitivo, praticamente moderno», Delta Focus (Falconara Marittima), Canovaccio, III, 4: April 1992, p. 65
Ginesi, Armando, «Cristiano Berti, ovvero la riscoperta della sintesi», Ore 12 Il Globo (Rome), Attualità & Cultura, 232: October 11 – 12, p. 13