Tag: bronze sculpture

thought is action sculpture iron by michelangelo eremita

Thought is Action

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Corten steel sculpture concept-project monument by Michelangelo Eremita

The architect-artist Michelangelo Eremita developed the theme “Thought is Action” which identifies and summarizes the meaning of humanity more than any other.

He completely freed his creative potential, rethinking everything in a revolutionary and original way but on the basis of classical principles: the result is a “Dynamic Structure-Sculpture”.

The artwork, despite the workmanship which only allows two-dimensional modelling, thanks to the superposition of seven construction levels, develops in three dimensions, acquiring a powerful scenographic effect.

The use of rounded curved lines represents the essence of the power of the load-bearing structures and gives solidity and slenderness to the scenic system, while introducing a variable of complexity that results from the different points of view. This complexity gratifies the observer and opens the reading of the artwork to the different meanings that it conveys.

In its side view the artwork is clearly divided into the symbolic-figurative part and the symbolic-explanatory part. The first is identified by the figurative human element which is in turn divided into two subsets.

The first symbolic-figurative subset is represented by thought, cut negatively, the second subset is represented by action, cut positively.

Thought is the first anthropomorphic profile, action is the second anthropomorphic profile. The first is naked, smooth and soft, it symbolizes meditation, wisdom, thought, reasoning; the second is aggressive and recalls the shapes of the Achaean helmet, symbolizing strength, dynamism, strategy, action.

The symbolic-explanatory subset is the idealized representation of the engine of the action: the wings.

They were created distinct and break through two-dimensionality. The structural components of the wings play the symbolic-explanatory part. The symbol of the symbolic-explanatory subset is the “flying engine” that unfolds in three dimensions to guide thought and action.

This ingenious design has allowed us to merge in a streamlined and rapid synthesis the idea of “structural tension”, understood in the curved, tense and functional forms for load-bearing, with that of “ideal tension” understood in the figurative traits that symbolize thought and action; the point of contacts is the “flying engine” that unites the two tensions.

The references to classical culture are homage to the principle of respect and protection of the original and formal values of art.

Man controls action with thought and meditation which otherwise would be brutal and senseless; therefore he bends the forces of nature and puts them at his service, creating essential supporting structures to harness and multiply the strength that comes from ingenuity. Man’s pride and confidence in himself still push him to pursue new and better results, only if they maintain respect for their history and origins.

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    hymn to life 1-9 sculpture by mario eremita

    Hymn to Life 1-3 author’s proof

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    Bronze sculpture-monument lost wax casting, Bondeno di Ferrara

    The project invlolves the creation from the cast of 9 specimens of which 3 are author’s proof. The first author’s proof was donated by the artist to the Parish of Merlengo ( Treviso Italy ).

    This large sculpture was modeled in a plaster form by the artist Mario Eremita in his Merlengos’ laboratory of Ponzano Veneto in 1992.

    The Parish Priest Don Eraldo Modolo wanted to leave to the pastoral community a significant and precious contemporary work of art that spoke directly to the hearts of the people. He therefore took up a collection to guarantee the artist’s living expenses: the artwork of the founders and the purchase of materials. Eremita received no compensation.

    The second proof of the author was acquired in 2006 by a collector from Ferrara who wanted to place it in the park of his villa. Currently, the last seven examples must be created, including an author’s proof, they will be created only on commission. Each example, being the work created in 9 copies of which three are proofs of the author, is, according to the conventions and customs of the art market, to be considered a unique piece.

    Critical note

    Reading key; bottom up.

    A majestic vegetal column screwed in a delicate spiral movement that recalls the basic chemistry of life, supports the sensual body of the eternal girl.

    The body is magnificently tense and intent on tireless attachment. This artwork is an imposing affirmation of being, in its completeness.

    The woman’s face is enraptured, dismayed to observe how, as soon as there are the slightest conditions, life takes root and grows, tenacious, strong, aggressive.

    Finally, in a few instant centimeters the perspective escape, the climax, develops. The girl’s head contrasts with the solidity of her body. It flees from earthly life; leads to the extreme end.

    Here is a vital form deformed by the abstract interprenetation of thought, which seeks afterlife and mystical confusion. The face is tense, the bones evident, the eye sockets empty, the skull stretched upwards; therefore no longer pushed from below but absorbed upwards.

    However, there is something more. Generally it can be said that everything is there; and in fact it is so. This enormous vegetal column from which emerges, with a powerful dynamic spiral, the sensual body of the female intent on breastfeeding. It is a vital meaning: the roots, the tree of life, the spiral of life, the sumptuous and full forms of the woman who generates life, the powerful hips, the turgid chest; these are strong and unmistakable sexual appeals.

    Sexuality is the key to life, sexual pleasure for humanity is the reward of life. Woman is at the center of sexuality. There is no symmetry between men and women. Woman is the meaning of life and for the artist she is the only hope of redemption.

    The child in the mother’s arms has grown, has passed the age for breastfeeding but still depends on the mother’s breast. Once upon a time, ignorance, deprivation and poverty forced mothers to prolong breastfeeding.

    The sculpture’s only truly symbolic quotation, this delicate testimony to the past also has a threatening meaning; perhaps a vital obsession: the dismay in observing how, as soon as the minimal conditions exist, life takes root and is tenacious, strong, aggressive.

    Finally, observe the perspective escape. It is already present, in the climax, in the arms and hands: they become slender, thread-like, abstract. They contrast with bodily solidity, they want to disengage from earthly life. The woman’s face and head brong this “escape” to an end.

    The figure here is no longer a vital form but is deformed by the abstract interpenetration that wants to bring impetus to the search for the supposed afterlife or mystical bewilderment. The face takes on extreme aspects and the skin is tense and makes the bones evident, the eye sockets already appear empty, the skull is stretched upwards, as if absorbed by a mysterious force of attraction, towards the sky, the unknown, the final answer:

    God?

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