Meeting between contemporary art and automotive engineering.

The meeting between contemporary art and automotive engineering found a compelling synthesis at the event hosted by Henraux, where Maserati chose to present its new vehicle to the press alongside a cultural experience capable of amplifying its symbolic value. Not merely a preview, but a layered narrative in which material, form, and vision engaged in a natural dialogue.

Filippo Tincolini was the central figure of this encounter, invited to create a conversation with the brand’s language through his sculptural research. Beside the vehicle stood Spaceman a white marble astronaut suspended between gravity and imagination generating a powerful visual tension: on one side, an object conceived for the utmost expression of movement; on the other, a figure destined for permanence. Two forms of purity, distinct yet complementary, suggesting that contemporary beauty does not require explanation, only the right context in which to reveal itself.

For the occasion, Tincolini also produced a sketch dedicated to the vehicle, translating its lines into an essential plastic vision. The creative gesture followed the same principle that unites sculpture and automotive design: removing rather than adding. In marble as in industrial design, essentiality becomes both method and language, while form emerges as the outcome of research guided by precision.

More than a scenographic juxtaposition, the relationship between the vehicle and Spaceman appeared as a dialogue between two ideas of time: speed crossing the present and duration aspiring to eternity. Within this convergence lies the deeper meaning of the initiative affirming that innovation and tradition, movement and stillness, engineering and art can coexist within a single narrative.

An event that confirmed how the future of design increasingly depends on the ability to build cultural relationships, transforming every object into an experience and every project into a story.