The word ‘lion’ immediately evokes Venice and the lion of St Mark, but the number of figures and their sculptural context broaden the meaning. The strength lies in the ambivalence of the word ‘campo’, which oscillates between a physical place and a place of activity.
In Venice, ‘campo’ refers to what elsewhere is known as a ‘piazza’. It designates an open, communal area where daily life unfolds—people gather, pass through, and wait. This space is not only physical but also symbolic and almost theatrical in nature. In this context, the lion figures in the campo are entities that inhabit, observe, and influence the rhythm of city life.
In Italian, the expression ‘essere in campo’ signifies active engagement, taking a stand, participating. Even more emphatic is ‘scendere in campo’, which suggests a decisive action or a call to participate—requiring courage and determining a turning point. Although seated, the lions are metaphorically in the field: not as mere ornamentation but as active participants who influence the perception of space.
Whoever enters the field changes the game, creates new possibilities, and assumes an active, decisive role. This act signifies involvement—a move from inaction to action— be it a game, a discussion, conflict, or purpose. The two lions and lionesses by Davide Rivalta, seated yet vigilant, appear as guardians and observers in wait. Their seated posture emphasises a presence that is poised to engage or resume its journey, and whose direction cannot be predicted. A sense of suspension, anticipation, curiosity, and mystery persists. Their monumental scale does not invoke unease; rather, it portrays them as reassuring sentinels—silent guardians occupying the space with calmness, observing rather than threatening.
In this work, Davide Rivalta revisits one of the most valued animals in his artistic repertoire to explore once more the lion and lioness in their dual nature: majestic and silent symbols of freedom, power, and authority. With Lions on field, the artist blends myth and reality, situating these majestic figures within an urban space suspended in time. Their immobility is not a sign of passivity but a form of resistance. Through his sculptural language, Davide Rivalta encourages us to consider both their mythological and natural dimensions—transforming these lions from mere onlookers into active participants in a dialogue that connects the heart of the city and its history. The work reflects on the relationship between urban environments and the untamed, not yet fully domesticated and anthropised aspects of nature, and the relationship between living beings.
