Sculptor in the round, Pino Castagna manages, at every moment and in every aspect of his articulated creative path, to combine his inventive charge, his poetic feeling, and his extraordinary skill as a homo faber.

In full respect of an original, and fully natural, aspiration to control the entire creative process, from conception to the realization of form, in adherence to his humanistic belief in the social function of art.

Museo MUG 2 in Massa dedicates to him a major retrospective, 'A mirror of the Tyrrhenian Sea' curated by Massimo Bertozzi - at his exhibition rooms on the second floor of the former Bishop's Palace in via Alberica, 26 in Massa - from July 12 to September 12, 2025 - a deserved tribute to the Artist Sculptor Pino Castagna and his personal homage to the Apuan territory.

Massimo Bertozzi writes: "What is evident, already in these early works and regardless of their dimensions, is the need for sculpture to interact with space, as if its creation were always conditioned by an actual ability to dialogue with the environment, the air, the light. The future outcomes of Pino Castagna's sculpture, the large marble or wooden stems, the complex and monumental iron and cement installations, despite being the result of an evident formal evolution, are already outlined in these early experiences, precisely in their 'monumental' arrangement. A long series of creative experiences ranging from furniture design to restoration, from fresco to typography. A formation that finds in the ceramics workshop, opened in collaboration with the Scottish sculptor Michael Noble, the first concrete opportunity to experiment with the acquired design skills and to verify the inventive and manual talent. A combination of creations started in the 1960s, in which the design and practice of sculpture will live a fruitful and important bond recognized in Italy and abroad.

Massimo Bertozzi writes about the artist's works: "Castagna's sculpture seeks, and skillfully finds, its balance in movement. One must know how to look at the uncertain stability of his forms, because only then can one understand why Pino loved the fragile making of ceramics and the risky making of glass so much. His forms always tend to break free, as if wanting to emancipate themselves from the solidity of matter: it is easy to understand this in reference to the soft mixes of ceramics and the fluid pours of glass, but one must also discover it in the sinuosity of corten steel and the stickiness of concrete."