The branching and proliferating sculptures that now form the backbone of Loris Cecchini's practice can be traced back to his first experiments with modular sculpture twenty years ago. It was the unprecedented computational power of the new three-dimensional modelling tools of the time that marked a quantum leap in the three-factor diagram that has always underpinned his work: nature, science, art. The firepower of technology, combined with modularity, opened up new operational spaces towards an old goal, expressed in Cecchini's own words: "to finally try to break the Euclidean box in sculpture".

The exhibition “Leaps, gaps and overlapping diagrams” at Ca' Rezzonico will present a series of modular works that attempt to incorporate into their structure the potential interactions between the modules, and those between the modules and the expanding space determined by the external environment. In this sense, they are constitutively, and not episodically, site-specific works, which form and function in relation to their context.

The placement of Cecchini's sculptures in the rooms of Ca' Rezzonico also determines another level of interaction and correspondence. If one admires the masterful frescoed ceilings by Tiepolo, Jacopo Guarana, Giovanni Battista Crosato and Gaspare Diziani, one realises how much they project the desire to visually break through the architectural cage.