Carrara
Veins of Time, Whisper of Marble.
Before arriving at the quarry, Carrara existed for me more as a concept than a place. In architectural discourse, it appeared as “Carrara White”; in art history, it was the marble of David and the Pietà, a material associated with purity, divinity, and the eternal. Only after spending several days in Seravezza, closely engaging with sculptures at Studio ARTCO, and then following the artists into the mountains, did Carrara began to take shape—not as an idea, but as a living landscape.
The road toward the quarries ascends gradually. As the path climbs higher, the white faces of the Apuan Alps reveal themselves as a profound geological reality rather than a mere display. Michelangelo’s sculptures first introduced me to this stone, yet it was this journey that allowed me to encounter its original form. Standing before the mountains, I was deeply moved. The veins of Carrara marble are not decorative accidents, but the consequence of slow crystal formation unfolding in silence over time.
The region hosts several significant marble quarry zones, some of which have been worked since Roman times. The site I visited was the Cervaiole Quarry, located on Monte Altissimo, part of the Apuan Alps, long operated by Henraux, a stone company founded in 1821. This quarry is known primarily for Arabescato, a white marble distinguished by its dramatic grey veining, processed here into blocks, slabs, and sculptural material for monumental architectural projects and artists around the world.
At this elevated site, the scenery is sublime. The view stretches across the Apuan Alps toward the sea, encompassing the horizon from La Spezia to Livorno. The vertical and horizontal marble benches cut into the mountain appeared as a monumental sculptural field. Standing here, I was no longer imagining sculptors at work in their studios, but considering how they face the mountain itself: selecting stone, reading its flow, and learning how to respond. To carve marble is not simply to shape matter, but to enter a dialogue with ink-wash-like veining, allowing form to emerge in harmony with the stone’s history.
Beneath the Tuscan sun, the deep blue of the sky met the pure white of the marble. Seeing such clarity of detail, I found myself wondering: how many lives have paused in this place over thousands of years? How much labor, patience, and devotion does it take for a single artwork to come into being, and to endure across time?
Sitting on a bench overlooking the endless sea, a smile came to me effortlessly. In the presence of such elemental nature, all concerns simply fell away. I felt fortunate and profoundly humbled. When touching the stone, I was fully alive, deeply aware of the unspoken existence.
Galleria Ars Apua
Situated near the historic Carrara quarries, Galleria Ars Apua feels less like a gallery than a retreat. The space also offers accommodation and settings for exhibitions and cultural gatherings. Here, the gracious Japanese host, Kazuko Oki, introduces the wines produced on the estate—Sangiovese, Merlot, and white Vermentino—grown without pesticides or chemicals, reflecting a way of living attuned to the land. It is a place of deep calm and majestic scenery.
The central town of Carrara
Known as the world capital of white marble, Carrara combines centuries-old stone traditions with contemporary creativity. Its rich marble heritage is reflected not only in the quarries but also in its academic and cultural institutions such as the renowned Carrara Academy of Fine Arts, while galleries and design shops bring new ideas to life. Piazza Alberica, framed by colorful local buildings, recently hosted the international design festival Design Here and Now, turning the square into an open-air stage for the world’s most influential designers.
Le Vele (The Sails)
In administrative terms, the Massa–Carrara province encompasses both towns. On my way back from Sarzana to Seravezza, I had originally planned to stop in Massa to see a public work by Pino Castagna. However, pressed for time, I ended up heading directly to the beach at Forte dei Marmi. This photograph was taken by a local friend, and I hope to return someday to perceive this sculptural dialogue between stone and sea in person.
