Artwork dimensions : Height/Width/Depth : 145 x 52 x 26 cm.
This is a unique work
The two caryatids brought to the primary humanoid stage, kneeling, trapped in the vise of horror, are isolated and frightened by the pandemic wearing masks.
The two wooden boards at the bottom and top are made of beech and give weight and pressure on the two caryatids
The gaps between the two bodies, below the chin and above the knees, form two hearts with the tips together, emptied of feelings, forming an hourglass through which time flows, waiting for better times. So I sculpted the air.
Only the eyes speak, it is the metaphor of our times.
In the supporting pedestal I integrated the earth globe, because this pandemic quickly and unexpectedly surprised the whole world.
Artwork dimensions : Height/Width/Depth : 40 x 15 x 15 cm.
Year of creation: 2020
Material: stone.
This is a unique work
This sculpture represents the belief in divinity, without connotation to a particular religion, because all religions have something in common: prayer.
The prayer is our direct connection with heaven because no matter how complicated the technological achievements, they can be deciphered analytically - and, after all, how simplistic they are compared to the miracle of the complexity of living organisms or the cosmic universe and its movements!
In the construction of prayer I focused on the fact that prayer itself has nothing to do with age or gender, it is pure spirit and it exists within us.
I structured my sculpture on three distinct elements: the head bowed before the divinity, with the chin on the chest so that the face is indistinguishable, folded hands in prayer and the kneeling as a sign of humbleness.
Artwork dimensions : Height/Width/Depth : 75 x 42 x 18 cm.
Material: marble
Year of creation:2020
This is a unique work
The moral of my sculpture: eternal beauty, found exclusively in art.
I sculpted the moment of the metamorphosis, setting in motion Galatea’s silhouette, abandoning the eternal condition in favor of the perishable.
Detachment of the statue to awakening to life leaving the body in the negative, revealing the sequence of movement from the right position of the statue to the downward position on the pedestal, both in front and behind the sculpture. I gave the free spaces meanings of stihii and centrifugal coverage, to suggest movement, with the appearance of a disorder assumed to contradict the static attitude of classicism, while the naked silhouette of Galatea benefits from retained details vaguely reminiscent of the classical manner.
At the top of the sculpture, in front, I carved the negative mark of the hand of the goddess Aphrodite that gave life to the statue. The features of Galatea's face are vague, without details.
I simply sculpted Pygmalion, without clothing details, I gave importance to the position of the body, after long hesitations between several variants and the facial expression is amazement and wonder for the miracle that took place. His face is slightly caricatured, expressive, specific to the contemporary style.
Ballet is the body's song of joy and pain and the educated art of the human body, to move sublimely! Happyness!
