The boats, the hulls are thus remembrances of the primary female body.
In the wooden relics layed on the beach by the sea resound the archetypal voices of sea fish and monsters whose tracks the artist identifies and follows.
But the spells between Nature and artist are never fortuitous…
The vaults of the roofs, the colours of the basin and miniature architectures, become tesserae of mosaics suggested by the mediterranean chromatisms.
The visual grammars of a pine or palm branch are altered with few touches: They resume then their essence of pre-Columbian snakes, thanks to additions of turquoise encrustings and of shells, or else of gods of the Benin or Mali civilisation, that art made of earth and sky that influenced Picasso and Modì…

Venus divine is born out of the sea’s foam.
The sea and the boat are metaphors of life, in the hope of not having to find one selves in the open sea, and reaching a safe port.
The landing is a redeeming place, in the trust of meeting Nausicaa, but it is also disquieting, in the risk of running up against the enchantress Circe.
The sea can tell… and the sailor, «nell’ora che volge al disio», thinks of faraway loves, while on dry land he yearns, as Ulysses does, to put himself «per l’alto mare aperto».
The sea can tell… with the reefs worn away by the wind, with the shells and wrecks that strand on the shoreline.
Strange and curious forms, that the wind and the water have moulded, and that the sea-loving eye has made his own.
Yes, because to read the tales of the sea you need a sensitive soul.
Many have one, yet only the artist is able, as well as to read those tales, to add new pages to them. This is just what Giovanni Cavero does.
And he succeeds in doing thus for various reasons: first of all, because he is an islander, he lives on the Island of Giglio, then because he is a mariner, and finally because he is an artist. The combination of these elements has given life to an art which sees the union of the fragments given back by the sea and the work of the artist.
Cavero paints the sea, the boats, the port, the people under the sunshade umbrellas… he does it sustained by his studies in art, hence with technical accuracy.
Yet afterwards the desire rose in him not to limit himself to depiction, but rather to bring the beloved sea to life again, through the traces of matter abandoned by it on the beaches.
It is particularly in the Alum Cove, a small bay of the Island of Giglio where sundry findings are joined together by the tides, that he follows his quest for the tales of the sea: pebbles and oddly faced glass fragments, salt-corroded wood, wind-consumed and dug-out rocks…
these are the materials, the forms and the colours that Cavero makes use of for his sculptures and panels.
Here is a cheerful seahorse, dynamically quick and with a sweet expression, it seems to be resting on a rock from a race through the waves, its thrill is still perceptible on the slender body.
Here is a vicious crocodile, with enormous gaping jaws, ready to snatch the prey, the bombast of the big pointed teeth, yet, plays it down to make it look like more than real, a fable figure; it nearly comes to one to prick up the ears and try to hear the ticking of Captain Hook’s clock, swallowed by his jaws. Here is the elegant dolphin, that looks as caught in an aerial evolution; its smooth and quick back bids for a caress, we almost want to mount it to be carried away to the mysteries of the unfathomed deep.
And there are also the agile swordfish and a languishing woman on the rock.
Surreal is the pair of beach-sandals with the high wedge, on second thoughts, one is a real sandal, the other has been shaped by the wind.
Divertissements, for sure, but also an attitude of anguished love for a world that one wants to rescue from pollution and restore to the “beautiful”,
meant as unblemished and thriving nature.
This is the message that subtends these works. Respect for the sea, for its beauties, for its treasures, and therefore respect for life, which, as suggests the mentioned myth of Venus,
is born right of the sea.