Roberto Tagliazucchi, sculptor, was born in Carrara. In 1980 he moved to Paris where he began his artistic career, taking part in important exhibitions such as the “Salone d’Automne” and “Réalités Nouvelles”. In 1986 he won the contract to decorate the new church of Cergy-St-Christophe and then in 1988 he was in charge of the decoration of the church Villeneuve-Le-Roi. His sculpture, Christ d’Aleray, was selected by the Archbishop of Paris,Cardinal J.M. Lustiger’s commission of religious art to be installed in the first church built in Paris for a century, Notre Dame de L’Arche de l’Alliance. In 1989 he was commissioned by the French Ministry for Culture to produce “Prometheus”, a marble bas-relief (7 x 3 metres) for the artistic high school, Le Parc, in St-Maur-Des-Fosses. Another of his monumental sculptures stands in the town hall of Evry (1991). In 2002, Tagliazucchi received a special mention for his work “Non Uccidere”, inspired by the events of 11 September, at the international competition “Il nuovo linguaggio delle trasparenze” in Brescia, Italy. In 2003, he won the contest for a sculpture at the hospital Santa Chiara in Trento with his work, “Maternità”. In 2004 the council of Pordenone bought his model, “Arciere”, for the decoration of its new headquarters and then in 2006 he carried out a fresco “les acrobats du cirque du soleil” (6 x 3 metres) for the suburb of Saint-Mandé (Paris). He has collaborated with the architect Stanislas FISZER as well as with the Roma studio of architecture and Constantin architects in Paris. His works have been acquired by the St Maur Museum in Paris and he also has sculptures on display at the Bibliothèque National de Paris as well as in numerous other important private collections both in Europe and the United States.


For me, make sculpture is placed points in space, draw lines to set, bend the light for the game of shadows; in a tale of many virtual journeys of the imagination.

Giovanna Riu is right when he writes about my sculptures: "" His special 'science' to make the dynamic space, absorb and return the light to enter and leave freely subject. The work has no one side pre-eminent but offers a multitude of aspects, each of which is the 'good' in the precise moment where it observed.” "",because my sculpture I could set it “Scultura Liquida”.