Andrea Borga

Andrea Borga (Trento, 1985) is an Italian sculptor whose artistic research takes shape in the Dolomites of northern Italy, the area where he lives and develops his creative work.

His artistic journey begins with direct contact with metal: at the age of seventeen, he becomes an apprentice in a blacksmith's workshop in his hometown, where he learns the fundamental techniques of metalworking through a craft tradition based on gesture and experience.

In the following years, he develops a personal language that progressively leads him toward sculpture. His early works are inspired by observations of nature, from which emerge animals and organic forms characterized by a balance between material strength and poetic sensitivity. Over time, his research expands to include the study of the human figure, approached with a sculptural language that combines plastic energy and formal elegance.

Borga’s sculptures are primarily made of iron, stainless steel, corten steel, brass, and copper, often paired with natural materials. The surfaces are treated through physical and chemical processes that avoid the use of paints, allowing the authenticity and transformation of the material to emerge as an integral part of the creative process.

In rec...

Artist Statement

Metalworking has accompanied man since the dawn of time. A tradition that was born and developed from ancestral knowledge that has been handed down, for centuries, from generation to generation. The craftsman is the one who creates by forging, shaping, and beating matter, a metal professional who puts his technical skill at the service of the community. The debate around the role of the "faber" and the artist within society has arisen cyclically over the centuries. A blurred boundary divides them, mainly due to intent: on one side is pure technique, on the other is the originality and creativity of the artist.

I like to define myself as the fusion of these two figures. A blacksmith by training, my passion for metal has led me to continue investigating this material. Despite having experienced and experimented with it in multiple ways over the years, it continues to amaze me.

This implies that when I approach metal I begin a real dialogue with it, in which the material itself is an active part and therefore responsible for the result. So the dialogue, the process of making the work, is as important to me as the final product. Because like any conversation, although we may have knowledge of the subject matter an...