Scultura in marmo bianco di Carrara - Certificato di autentica - Originale - Con base di supporto in marmo - 2018
|Title of artwork:||L'indecisione di Dio|
|Technique:||Scultura in marmo bianco di Carrara|
|Signature:||Certificato di autentica|
|Sold with frame:||Con base di supporto in marmo|
|Total dimensions (H/ W/ D in cm):||25x25x15cm|
“Emozioni plastiche” For a long time, the sculptural production of Angelo Brugnera has been distinguished by a formal elaboration of great skill and technical refinement. The choice of precious marbles, as first the Bianco Savana but also the Bianco di Carrara and the Nero Belgio, further enhances an original aesthetic research that draws food and strength from an extremely deep emotional and psychic ductus. The artist usually starts from a feeling, from a physical condition then destined to turn into matter. The marble becomes flesh, skin, alive tactile experience. It is difficult to remain indifferent to the beauty and purity of certain glossy and polished surfaces where light glides and rebounds in a continuous play of reflections. But it is equally impossible to resist the rough and scabrous walls of certain deliberately sour and gnarled cavities. Overall, his representation takes us back to a biomorphic repertoire, to a world of mysterious and unicellular presences. A primogenial and ancestral impetus seems to preside over every creation. The evolution of the lines is never obvious and amazes the movement of the plastic masses, the correspondences of solids and voids. It is not uncommon to even reach the apotheosis of emptiness, as happens in the Autocertification of the family in which the elliptical perimeter structure exalts, in an exceptional and unpredictable equilibrium, the absence of matter, the absolute cosmic and pneumatic vacuum through which sculpture finds its foundation and reason to exist. There is a biomorphism that looks at some high twentieth-century production (Arp, Brancusi, Moore), but the visual echo feeds on highly authentic autonomous inputs and instincts. Stimulants are the frequent contamination and hybridization of distinct kingdoms: human and animal interpenetrate along the trajectory of a full, pulsating organic vitalism in apparent expansion. Sometimes geometry breaks in: the sinuosity of the natural forms undergoes a sort of arrest, invasion and the sculptural mass seems to assume a partial and temporary plastic deformation (Nero ossea). In reality it is more precisely a symbiosis between "sentiment" and "reason". Recalling Gaudí according to which 'the curved line is the line of God and the straight line is the line of man', we grasp a valuable synthesis of almost futuristic matrix in which nature and artifice contribute to the emergence of new, unusual figures. How not to see in works such as Sonno or Autoritratto with neo, suggestive interpretations of surrealist, decompositions, spins and twists result of "psychic automatisms", of unpredictable and unexpected metamorphisms. And again: how not to recognize in some realizations the erotic component as vital impulse, as endogenous force raised to totem and in Acquamadre a heartfelt lyric dedicated to motherhood, to the celebration of the maternal womb as a mysterious, alchemical, place and principle of every existence. The exceptional measures of Postpartum with the oversized and exposed uterine cavity, give back the physical sensation of emptying and the consequent muscular exhaustion: the rough external walls, crossed by corrugations and tensions, preserve a living interior, which invites to perform a sort of initiatory exploration. A mix of imagination and literary reminiscences accompanies the Fall of an angel, a truly singular work in which we seem to feel the crash of the body on the ground that causes the inevitable outflow of the bowels. In the jumble of broken and dismembered anatomies there is a curious continuity between inside and outside and an enigmatic reversibility between the parts. The incursions in undefined areas and territories, perhaps within cell membranes or ectoplasmic archipelagos from which vital vitalities develop and grow, are dear to the artist and recurrent. But equally frequent are the works that suggest precarious equilibrium, fragile "suspended entities", waiting, perhaps, for further and unknown definitions. In Tortura invisibile, for example, a work-installation supported by cables, the artist realizes a body as if it were a piece of meat for slaughter (and the memory goes to certain pictorial pieces of Soutine, Bacon) and in the outer derma traces the shapes of the face, of the hands and knees of a figure who from the inside tries to come out, symbolically to be reborn to new life, not without the deep pain that underlies every mutation or passage in the evolution of life. All the creative force of Angelo Brugnera follows an uninterrupted flow of electrocutions, of images, of primitive longings full of future and expectations. To this mix contribute the fascinating chiaroscuro effects, the studied intermittences and luminous correspondences, capable of provoking invisible calls to distant, sensitive and over-sensitive worlds of extraordinary plastic and emotional yield. Lorena Gava
Choice of metal support pedestal with a surcharge.
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