"Tincolini possesses a solid and profound 'craft-based' knowledge of sculpting, developed during his formative years through a long apprenticeship in the workshop of a sculptor, and later enriched by an internship at a foundry in Pietrasanta.
These experiences revealed to him the many facets of sculptural practice: the resistance of materials that challenges and stimulates the imagination and creativity; the titanic effort that fuses concept and idea with muscular tension, channeling atoms toward the envisioned form.
The precision of the gesture, suggested by the material itself, and the syncopated rhythm of sculpting the alternation of pauses, meditations, and corrections in the soaring flights of imagination-are constrained by the marble's unforgiving nature, which allows no second thoughts or revisions.
The tireless discipline Tincolini subjected himself to after earning his academic degree further strengthened his convictions. These became the foundation for his dual path: one of continuous experimentation with new solutions and dialogues between conceptual and formal elements, new journeys between hand and mind; and the other a path always intersecting and intertwined with the first of injecting 'craft-based thinking' into technology, infusing it with a sense of humanism.
As stated at the beginning, sculpture is perhaps the most anthropological of the arts, for it brings humankind face to face with the titanic origin of its own nature-the ancestral, totemic pull of solid form, especially when confronted with a plastic work capable of evoking awe, admiration, and deep thought.
The works presented in the gallery function as catalysts capable of shaking the viewer from the numbness of media-technological consumption to which we have become accustomed in our hyperconnected society. They 'force' a proactive attitude, prompting subjective reflection and further narrative exploration.
As the exhibited works show, Tincolini is able to harmonize the main currents of contemporary sculpture: on one hand, the dimension rooted in materiality and physical craftsmanship, which aligns more or less closely with traditional figuration; and on the other, the more playful and subversive current tied to Pop and Dada dynamics, which paved the way for sculpture to expand into the realms of installation, design, and architecture."
Alessandro Romanini