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Water often plays a significant role in Giorgio Andreotta Calò’s works, and this is particularly evident for the sculptures presented in Scolpire il tempo. The title itself is an obvious reference to Andrej Tarkovskij, in whose films water appears consistently with symbolical meanings that seem to have deeply inspired Calò in his works. Water acts in Tarkovskij’s films as a mirror of reality, it represents the power of dreams and imagination, displays its baptismal function of purification, stands for the processes of nature that transform the primordial chaos into organized life and then into consciousness. But it can also be a force of dissolution and destruction. Calò had been working for a while on mooring poles that, after being corroded by salt water to the point of breaking, can be easily found either floating or on the shores of the Venice lagoon. For Scolpire il tempo he has created identical duplicates (like mirror images) of three of them, and he has joined the original and the duplicate on their tapering side. The result, vaguely recalling the shape of an hourglass, has then been turned into a bronze sculpture. The sculptures stand on a floor covered with a film of water, creating an elemental landscape, an aquatic forest of poetic imagination. The sculptures would not exist without the caressing hand of the lagoon of Venice, whose tides have carved the wood of which they were originally made. It is certainly significant that such a work would be created and presented for the first