Bluer, alias Lorenzo Viscidi, is born in Venice, the 19th of June 1962. Now he lives and works in Padova and in Nardò, near Lecce.
Bluer is an artist who seems to act by using the magic of a special initiation. As a sculptor he is not the typical classicist, that’s to say he has something special which brings to him originality and uniqueness.

His work is the result of meditative strength, of an intuitive process and innate understanding of his material, considering the transparency of Plexiglas as a means to convey an ethical message, a sort of tribute to the beauty of form itself, which makes the unsayable immanent, and translates the alien language of abstract thought into three-dimensional appearance and watery transparency.
In his Accartocciati he obviously considers the lesson of informal expressionism which, for sculpture, is usually expressed and coded in the context of bronze castings, for a reason: marble, for example, certainly does not bend to the passionate ferocity of the preparation of a clay model, more suitable to cold construction, expressed above all in the recesses and protuberances of surfaces, in full and hollow forms but never in the dynamic, light circumvolution that manual work can imprint on a softer, more ductile material. In this case Bluer’s informal expressionism found its answers in a very sold and practically indestructible material, that is extremely easy to manipulate if it is handled when it is hot, rather like glass paste, which it is very similar to in terms of transparency and chromatic potential. However Plexiglas maintains its relationship with heat even when it is in a solid form, appearing elastic, light, potentially still changeable, and a long way from the fragility and the glacial and irreversible rigidity of glass.
In these Accartocciati, the forms appear to be assembled from harmonious moments and disharmonious fractures, where full and hollows forms play illusory scores , where the surfaces occasionally sink into iridescent labyrinths and in impossible routes, where it is difficult to grasp the genesis and final destination, and where the plastic whole hides from view with diversions and torsions.
In this succession of abstract moments and dynamic tension, the shape-shapelessness require several interpretations: sometimes Bluer seems to apply to an existential reflection, while at others he appears lyrical, and at others still, even majestic, yet always guided by a compositive reason, veined with playful irony. But with all these options, we can be sure that is work rest on wisely calibrated rhythms, where the bizarre nature of the whole seems a refined styling exercise by an artist who is so familiar with the syntax of visual form that he can put it to one side in order to make space for a very free re-elaboration f traditional visual canons.