(text by Enzo Santese)

The formative and operative path followed by Alessandro Cadamuro is highly articulated for the multiple factors involved in it.
The intermediary element in this variety of components: The Glass, acting as common divisor, becomes the main element in his expression.
Considering his venetian origin and his "growth" in academic as well as non-academic environments, the choice of this material does not seem to be casual. On the contrary a direct consequence of the influence of the lagoonal town and his father Ennio, linked to the glass background of Murano.
It is in childish games that Alessandro, among heaps of glass waste, sedimento of multiple fusions in the Murano furnaces, looks for the "Precious Stones", to reassemble a hypothetical treasure, uplifting the so called "discarded" to the supreme essence of glass preciousness.
And while living amidst glass masses and grey-green waters CAdamuro founds his first "Glass-chanter" manifesto in 1980: his poetic statement, the synthesis of what his aesthetic and content expression will be, the unmistakeble course of his artistic production. In the same year he conceived and produced a series of "musical instruments": a sort of sonic glass sculpture which he names "Glass-phono", "Glass-breaker", "Glass-chanter", "Drum-glasses", followed by "For a sonic Glass Poem", unto the recent ones "The Glass-wind", "The Glass-grinder", "Glass-water" and "Glass-sound".
The term "POEGLASSES" (POEVETRI) that he coined to identify his works - from the written verse to his poetic visual-concrete and sonic creations - owes its genesis to a gesture: originally, Alessandro Cadamuro would scratch his linear poems with a diamond point on the surface of a "glass page", vertically sustained by two metal supports. The performance of these "Glass-scriptures" (glass-performances) was accompanied by the vibrations of his Glass-instruments interpreted by percussionists and the acute voice of a soprano singing the texts after they were engraved on the "Glass-sheet" with "resounding" and sharp movements together with the miriade of scratched, carved, intertwined, overlapped signs. The sound of the engraving, of the scratching on the "Glass-sheet", was amplified by audio-magnetic heads placed between the glass layers, and the harsh and dry vibrations originated from the pressure of the diamond point would spring right from the core of the glass, spreading around their sharp and powerful scratching sound.
He marks, engraves, breaks up, disassembles the linear structure of glass, remoulding it into new forms, connecting it to other materials, enriching it with his own poetic fragments and the poetics itself. The letters or part of letters of the glass surfaces are unique, often overlapping and/or isolated one from the other as signs, segments of a whole act of composing. The work is therefore for Cadamuro an uncontainable expressive explosion, which cannot limit the creative erruption, the final emotion, by privileging one language in despite of another.
It is in this context, first in Venice and the in the rest of Italy and abroad, that the performance becomes for Cadamuro a sophisticated expressive means, multiform clot of meanings, situations and heterogenious materials, the chatacterizing and distinctive element of his artistic research.
He associates glass, the basic matter, and the actions on and with glass to other materials, whose transparency is more or less evidently aknowledged: plexiglass, plastic, rubber, nylon, resins, silicone products etc. And furthermore: incandescent light spots, pre-formed or by the artist himself designed neons, electromechanical and electronic elements, electroacoustic sound diffusers connected to pre-recorded close circuit audio and video tapes etc.;

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