Acclaimed painter and sculptor Silvio Mastrodascio is elegantly dressed as he quietly walks around the room at the Italian Cultural Institute in Toronto, where a retrospective of his sculptures from the past four decades, titled From Thought To Form, is being held. He patiently answers questions, providing succinct responses that reflect his European charm. His bronze sculptures of the human body, particularly the female figure, transport attendees back in time to the Italian Renaissance – a period when classical knowledge was rediscovered and the beauty and potential of the human form were celebrated. His work harkens back to this unique era of artistic flourishing, where art combined aesthetics and realism.
Mastrodascio was born in a small rural village in the province of Teramo, Italy. He had a difficult childhood, having to walk miles each day to get to the only school in the area. He graduated from high school and moved to Rome, where he immersed himself in the city’s classical culture. But he was not satisfied and decided to leave Italy and travel the world, and as he says, “to experience new cultures” and learn about life.” On one of his travels he purchased an Egyptian sculpture that would change his artistic path.
Silvio Mastrodascio, left: Mother with Child / Madre con bambino; right: Young Sudanese Woman / Giovane sudanese. Patinated bronze. Photos: Francis Crescia.
He was a painter by training, but he became fascinated with the idea of creating sculptures. Along the way, he faced a difficult decision: work in Iran, where he had been offered a job, or heed a friend’s advice to come to Canada. In 1980 he enrolled at the College of Fine Arts in Toronto, where he would shift his artistic practice from painting to sculpture, learning new techniques and working with specialized tools. He worked to transform raw clay into life-like figures and mastered every step involved in the labour-intensive task of fusing metal. His preferred material became bronze due to its durability, and which allows for bolder compositions without fear of damage or breakage.
His work highlights the female figure, weaving it into the very fabric of his artistic expression. His sculptures are beautifully crafted and perfectly proportioned, bringing out the inner beauty of each subject with grace and precision. Mastrodascio states that he has always been interested in female psychology, and he invites viewers to explore the depth and complexity of femininity in his work. “The creative path I follow belongs to what is often called the figurative tradition – an artistic language grounded in the depiction of the human body. This mode of expression allows me to explore timeless themes through form and gestures, drawing from classical roots and historical memory,” he states.
Silvio Mastrodascio. Ballerina No. 2. Photo: Francis Crescia
Like many great artists, he focuses on the face. He believes that the face is the most delicate part of the body and “provides a picture of what the person is about.” In his sculpture Mother with Child, the mother is distraught, holding her child closely to her bosom, protecting it, as her face is filled with fear. Another sculpture, that of a ballerina, portrays a strong, athletic woman whose face is intensely focused on her next audition. His most sensual piece, titled The Awakening, depicts a woman dancing, with her hands on her head and showing a naked breast, ready to challenge societal norms. The sculpture of a Sudanese woman, gracefully poised with a stick in her hand, captivates all who encounter it. I ask him if the depiction of the Sudanese woman is connected to the ongoing civil war in Sudan. He says not at all and explains that “North African women carry themselves with pride, are tall and slim, and are beautifully dressed.”
Mastrodascio’s sculptures capture the imagination, provoking thought, reflection, and a search for meaning. In his work, that meaning emerges as reality in the lives of everyday people. During an interview with Marco Lettieri, he was asked about the meaning behind his work: “I do believe that my sculptures speak a kind of silent language – one that bypasses words and speaks directly to the viewer’s inner world. My goal is to capture the invisible: the essence, the soul, or the emotional weight that a person or story carries. This language is not always literal or easily interpreted, but I trust that the attentive viewers will feel its presence.”
Although he has made Canada his home and travels to Italy a couple of times a year, Mastrodascio can not escape his Italian heritage, and he is deeply influenced by Italy’s culture, a culture that celebrates physical beauty and acknowledges the enduring resilience of women. In Italy, mothers hold a special role and are seen as cultural institutions that embody tradition, protection, and unconditional love. It is almost impossible not to be bedazzled by an Italian mom’s cooking or her meticulous ability to run a household. Acclaimed Italian author Luigi Barzini wrote in The Italians: “Italian women are aware of their importance and that without them the whole structure would collapse like a house of cards within a few hours.” He notes, “men run the country but women run men.”
Silvio Mastrodascio. Photo: Francis Crescia.
Mastrodascio notes that his work is well-received in Canada, but it performs better in Italy, where sculptures are more prevalent. He believes art should be everywhere – in public spaces, parks, and city streets, integrating it into everyday life. He observes that in recent years, there has been a steady decline of public art in urban places: “It’s disheartening to walk through city squares that once stood as open-air museums, now stripped of the monuments and statues that once narrated our collective history.” He is a classicist at heart and does not admire modern art. He opines, “If you pick up a piece of wood from a river, you can call it art. This approach leaves the interpretation up to the viewer, and anything can be considered valid.”
Mastrodascio’s aesthetic, while rooted in classical influences, remains resonant today. His work speaks to the “eye of the mind,” according to Thomas Martone, who has written about his sculptures. It ignites the imagination, engaging and enlightening people, reminding us that beauty is all around us; we need to look for it. His body of work is destined to endure, remaining relevant no matter the era.
Based in Toronto, Francis Crescia writes about political, economic, and cultural issues.
