... In Cirielli, thought becomes a project, and the project is realized in technique, in the first place: the technique to assemble geometrical wooden forms (mainly rough, coloured at times) on panels proposing images with great formal strictness, evidently related to the artistic, pictorial and architectural tradition, from the ancients to Cubism, Futurism, Plasticism and Suprematism. The final impression is that of a ligneous marquetry, revised and updated thanks to the use of colour and materials as well as to the assembling technique, going ahead owing to cementation, with sporadic overlaps. It is clear that Cirielli has a vertical, architectural, "pyramidal" vision of the artistic poiesis …The artist is, in fact, a director or a conductor who plans and assigns to each constituting element a specific role inside a wider expressive range; matched with genuinely artisan carpenter skills, with neither self-referential nor metalinguistic purposes, which do not end either in the exaltation of the " homo faber" tout court or in the manipulation of technical codes. The "above-perspective" approach by Cirielli make his marquetry an audaceous attempt to update the art of commissioned works, not on the basis of painting, as the often pure tone of the colours could mistakenly lead to believe (colours that seem to derive from Mondrian: another confirmation of the plastic and therefore constructive attitude of the artist), but thanks to a regained visual technique, starting in the first place from the relativisation of the albertian-style perspective...
