Francesco
Intreccialagli

After completing his studies at the Ciampino State Art Institute, where he obtained the ‘Maestro d’arte’ diploma and the Applied Arts Secondary School Diploma ( ‘Ceramic Art’ section), he enrolled at the Academy of Fine Arts in Rome in 1989 on the Sculpture course, taught by lecturers Alfio Mongelli and Saverio Zinza. In 1993, he obtained his Diploma in Sculpture with honours, presenting a thesis entitled ‘A New Working Methodology: The Game of Consequences in Lucio Fontana’s Research’.
In the 1992–1993 academic year, he was selected for the Erasmus Programme as the sole Sculpture scholarship holder among the students of the Academy of Fine Arts in Rome and, while attending the National Hoger Institut
Voor Schone Kunsten in Antwerp, where he furthered his skills under the tutelage of lecturers Wilfried Pass and Lode De Preter.
Through participation in public competitions based on qualifications and examinations, he obtained various teaching qualifications, both at the Academy of Fine Arts, for Ornamental Sculpture, and for Sculptural Disciplines at art schools and art institutes.
After an initial period teaching Sculptural Arts at the State Art Institute and at the Artistic Secondary School, since 1997 he has been teaching Ornamental Sculpture at the Academies of Fine Arts in Palermo, Florence, Carrara and L’Aquila. In 2002, he was transferred to the Rome campus, where he continues to teach Ornamental Sculpture and Contemporary Sculptural Techniques to this day. He has also taught courses on Sculpture Techniques and Technologies. He made his artistic debut in 1992.
He has held several solo and group exhibitions, as well as taken part in competitions, in both public and private venues, in Italy and abroad, receiving numerous awards, including the ‘Diploma de Honor’ for his participation in the
his participation in the ‘III Bienal Bellas Artes de 1997 Lima’ at the National Museum of Lima, Peru.
He lives in Monte Compatri, where he pursues his three-dimensional sculptural research, which focuses on space, time, light, material, sign and surface, primarily using wax for the subsequent transposition into bronze.

THREE-YEAR COURSE

Purpose
The course aims to enable students to acquire increasingly specialised knowledge and skills specific to the discipline, with the goal of enhancing each student’s sculptural and stylistic abilities, while respecting their individuality and taking into account their chosen specialisation.

Objectives
At the end of their studies, students should possess both ‘knowledge’ and ‘know-how’, i.e., they should have acquired autonomy in the use of technical and operational methods and methodologies, and should be able to critically engage with the artistic issues that their work addresses in relation to the environment, architecture and the landscape.

Organisation of teaching activities
The training programme will be based on sculptural research, starting with an initial two-dimensional, ‘theoretical and graphic’ phase, followed by a second, three-dimensional, ‘sculptural and practical’ phase.
A fundamental aspect of each student’s individual training programme throughout the three-year course will be the relationship between the ‘work’ and the ‘space’, understood as a stand-alone sculpture ‘post-integrated’ into an environmental, architectural and/or landscape context.
For the creation of the sculptural work (whether high, low, medium-relief, in the round, a modular element, etc.), students shall use the materials deemed most suitable for bringing the project idea to life.
To ensure the availability of materials, the following are recommended: clay, plaster, wax, cement, etc. (modelled both indirectly and directly), without excluding polyester, papier-mâché, wood, stone, metals, plastics, rubber, latex, etc.
The ‘sculptural-practical’ component will be supplemented by theoretical and methodological lectures.

Priority topics
Armatures, materials, indirect sculptural modelling using moulding techniques (rigid and flexible), plaster moulding (lost and block moulding), direct sculptural modelling (wax, plaster, etc.), subtractive techniques (wood, stone, polyester), metalworking (techniques, types, etc.), casting techniques.

Exam format
The following are required:
– One or more three-dimensional sculptural works;
– Graphic and photographic documentation of the project carried out (preliminary drawings, plan, elevations, etc.);
– Setting of the three-dimensional sculptural work(s) using the techniques deemed most appropriate.
– A final report on the work carried out (conclusions, reflections, etc.).

TWO-YEAR COURSE

Purpose
The course aims to enable students to acquire increasingly specialised knowledge and skills specific to the discipline, with the goal of further enhancing each student’s sculptural and stylistic abilities, while respecting their individuality and taking into account their chosen specialisation.

Objectives
At the end of the course, students should possess both ‘knowledge’ and ‘know-how’, i.e., they should have mastered the use of technical and operational methods and methodologies, and be able to critically engage with the art-related issues (both historical and contemporary) that their work addresses, in relation to the environment, architecture and the landscape.

Organisation of teaching activities
The training programme will be based on sculptural research, from the ‘theoretical-graphic’ design phase to the ‘sculptural-three-dimensional’ execution phase.
A fundamental aspect of each student’s two-year programme will be the relationship between the ‘work and the space’, and vice versa, no longer understood as an autonomous sculpture ‘post-integrated’ into an environmental, architectural and/or landscape context, but rather as ‘pre-integrated’, i.e., conceived as a sculptural and/or installation-based intervention, whether permanent or temporary and therefore removable, but in any case ‘made for’, ‘created for … that place, that space’.
Given the specific nature of the two-year course, taking into account the chosen specialisation and its relevance to the contemporary world, priority will be given to direct modelling techniques using a wide range of materials, including experimental or unusual materials, etc.

Direct sculptural modelling in:
– Wax, with a view to possible bronze casting (lost-wax, sand-casting, earth-casting, etc.), therefore, both with different types of cores and as a sculpture in its own right, no longer a transitional piece but a finished work, e.g. Medardo Rosso, Manzù, Fontana, etc. (using plaster cores and metal armatures);
– plaster (without the use of moulds, employing armatures, polyester, sackcloth, gauze, textiles), using the ‘additive’ and ‘subtractive’ techniques (where there is excess material), etc.;
– papier-mâché (applied in successive layers over a frame);
– terracotta;
– Polyester (from blocks or assembled parts), worked cold, using roughing, rasping, etc., with various tools; considered either as a finished surface or as a material (core);
– concrete (rapid-setting concrete bound with sand, applied in successive layers over a framework), etc.;
– wood (from logs, from pre-assembled blocks, from plywood, using appropriate tools and equipment, etc.);
– stone (using appropriate tools and carving techniques, etc.);
– metal (cut, bent, welded, ground, riveted, etc.);
– plastic (shaped using heat, i.e., ‘thermoforming’, into negative plaster moulds and then assembled, or assembled directly;
– rubber, latex (shaping/modification of pre-existing elements, etc.);
– etc.

Examination format
The following are required:
– One or more three-dimensional sculptural works;
– Graphic and photographic documentation relating to the project carried out (preliminary drawings, plan, elevations, etc.);
– Presentation of the three-dimensional sculptural work(s) using the techniques deemed most appropriate;
– A final report on the work carried out (conclusions, reflections, comparisons, etc.).

THREE-YEAR COURSE

Purpose
The course aims to enable students to acquire increasingly specialised knowledge and skills specific to the discipline, with the goal of enhancing each student’s sculptural and stylistic abilities, while respecting their individuality.

Objectives
At the end of the course, students should possess both ‘knowledge’ and ‘know-how’, i.e., they should have acquired the ability to independently apply technical and operational methods and methodologies, and should be able to critically engage with the artistic issues addressed by their work.

Organisation of the course
The research programme will be based on sculptural exploration, initially ‘theoretical and graphic’ and then ‘sculptural and practical’.
For the creation of the sculptural work (bas-relief, high-relief, in the round, three-dimensional elements, etc.), students will use the materials deemed most suitable for translating the idea into a project.
In terms of availability, the following materials are recommended: clay, plaster, wax, papier-mâché, cement, etc. (moulded either directly or indirectly), without excluding wood, stone, metal, plastic, rubber, etc.
The lecturer will devote particular attention to the entire sculptural-practical component, supplemented by theoretical-practical and general-methodological lectures, focusing in particular on:
– Preparation of a clay base for high or low relief (application of the clay), to be used either as a preliminary step for possible plaster moulding or as the final piece for possible terracotta work (including the necessary cuts, etc.);
– Preparation of various types of armatures for high and low relief and for the round, relating to the human figure and to three-dimensional sculptural elements, using both indirect and direct methods;
– Direct sculptural modelling in terracotta, plaster, wax, papier-mâché, cement, etc. (i.e., without the use of moulding, metal armatures, etc.);
– Indirect sculptural modelling using moulding techniques (rigid and flexible), ‘lost-form’ and ‘core-and-shell’ plaster moulding, and moulding from a plaster negative (of terracotta, plaster, papier-mâché, cement, etc.);
– Subtractive techniques (plaster, wood, stone, polyester);
– Metalworking (techniques, types, etc.);
– Casting techniques (lost-wax, sand, shell moulding), chiselling, finishing, etc.

Exam format
The following are required:
– One or more three-dimensional sculptural works;
– Photographic documentation;
– Final report on the work undertaken (conclusions, reflections, comparisons).

TWO-YEAR COURSE

Purpose
The course aims to enable students to acquire increasingly specialised knowledge and skills specific to the discipline, with the goal of consciously enhancing each student’s sculptural and stylistic abilities, while respecting their individuality.

Objectives
At the end of the course, students should possess both ‘knowledge’ and ‘know-how’, i.e., they should have acquired specialised expertise in the use of technical and operational methods and methodologies, and should be able to critically engage with the issues relating to art (both historical and contemporary) that their work addresses.

Organisation of the course
The research programme will be based on sculptural exploration, starting with a ‘theoretical and graphic’ design phase and progressing to a ‘technical and practical’ phase. For the creation of the sculptural work (whether high, low or medium relief, in the round, a modular element, a sculptural intervention, an installation, etc.), students will use the materials deemed most suitable for bringing the project idea to life.
Given the short duration of the course and its focus on the contemporary, priority will be given to direct modelling techniques using a wide range of materials, including experimental or unusual ones; mixed media techniques to reduce production time, among other methods; or apparently antique materials that are readily available and have been treated and reinterpreted ‘in an informed manner’, etc.

Direct sculptural modelling in:
– polyester (from blocks or assembled parts), worked cold, using roughing, rasping, etc., with various tools, considered either as a finished surface or as a material (core) to be subsequently treated with plaster (depending on the desired textures), etc.;
– plaster (without the use of moulding) with reinforcements, polyester, sackcloth, gauze, fabrics, using the ‘additive’ and ‘subtractive’ techniques (where there is excess material), etc.;
– Wax, with a view to possible bronze casting (lost-wax, sand-casting, earth-casting, etc.), either with different types of cores or as a sculpture in its own right, no longer an intermediate stage but a finished work, e.g. Medardo Rosso, Manzù, Fontana, etc. (using plaster cores and metal armatures);
– cement (rapid-setting cement bound with sand, applied in successive layers over a framework), etc.;
– papier-mâché (applied in successive layers over a frame);
– terracotta (moulded using either the direct or indirect method);
– wood (from logs, from pre-assembled blocks, from plywood, using appropriate tools and equipment, etc.);
– stone (using appropriate tools and carving techniques, etc.);
– metal (cut, bent, welded, ground, riveted, etc.);
– Plastics (shaped using heat, i.e., ‘thermoforming’, into negative plaster moulds and then assembled, or by direct assembly);
– rubber, latex (deformation/modification of pre-existing elements, etc.);
– Etc.