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拍品专文
Standing at almost two metres tall, Soglia: a Eduardo Chillida is Arnaldo Pomodoro's arresting interpretation of the philosophy central to Chillida's practice. Representing a unique departure from the Italian artist's interest exposing the materiality of sculpture, Soglia: a Eduardo Chillida explores Chillida's idea of 'the limit'. Dramatic fissures punctuate a seemingly impenetrable bronze tower, revealing a gleaming, intricate inner landscape. Light appears to shine from the heart of the piece, drawing our attention to the negative, interior space. The effect is as if a solid block has been pulled apart, and we have been allowed to glimpse a hidden world within. Exploiting the sensuous potential of bronze, Pomodoro has chosen a darker, matte patina for the sculpture's exterior, giving it a warm, weathered quality. In striking contrast to the linearity of the main structure, we find elaborate patterns of angled bronze teeth, like clustered crystals.
Punctuating the interior space of Soglia: a Eduardo Chillida, these delicate protrusions activate the void between the solid flanks in the same way that the two claw-like structures do in Chillida's monumental sculpture De Musica, Dallas X. Chillida considered the 'material' of negative space to be just as intrinsic to his sculptures as the stone and metal from which they were made. A central tenant of his work was a quest to find 'the limit', and unite the two. This was the place or point beyond dimensions, like the meeting point of sea and sky on the horizon, where elemental opposites meet - the point where space is given form by the heavier materials permeating it.
Both Pomodoro and Chillida had trained in architecture, and shared an architect's interest in the agency of interior space. They were intrigued by scale and how light and space could transform inert matter. In Threshold: to Eduardo Chillida, we are made aware that we are outside of something; we are on a threshold, looking in. 'The concerns of my work as an artist have always centred on the relationship between the individual sculpture and the space in which it is sited', Pomodoro has said. 'A sculpture, indeed, is the realization of a space of its own within the greater space in which it lives and moves. When a work transforms the place in which it is located, it takes on the valence of a true and proper witness of the times that spawned it, and thus places a mark on its context, enriching it with additional layers of memory. Today I think of my sculptures as crystals, or nuclei, or as eyes, or signal fires; and I see them as relating to borders and voyages, to the worlds of complexity and imagination.' (A. Pomodoro, https://www.arnaldopomodoro.it/en, [accessed 1st May 2013]).
Punctuating the interior space of Soglia: a Eduardo Chillida, these delicate protrusions activate the void between the solid flanks in the same way that the two claw-like structures do in Chillida's monumental sculpture De Musica, Dallas X. Chillida considered the 'material' of negative space to be just as intrinsic to his sculptures as the stone and metal from which they were made. A central tenant of his work was a quest to find 'the limit', and unite the two. This was the place or point beyond dimensions, like the meeting point of sea and sky on the horizon, where elemental opposites meet - the point where space is given form by the heavier materials permeating it.
Both Pomodoro and Chillida had trained in architecture, and shared an architect's interest in the agency of interior space. They were intrigued by scale and how light and space could transform inert matter. In Threshold: to Eduardo Chillida, we are made aware that we are outside of something; we are on a threshold, looking in. 'The concerns of my work as an artist have always centred on the relationship between the individual sculpture and the space in which it is sited', Pomodoro has said. 'A sculpture, indeed, is the realization of a space of its own within the greater space in which it lives and moves. When a work transforms the place in which it is located, it takes on the valence of a true and proper witness of the times that spawned it, and thus places a mark on its context, enriching it with additional layers of memory. Today I think of my sculptures as crystals, or nuclei, or as eyes, or signal fires; and I see them as relating to borders and voyages, to the worlds of complexity and imagination.' (A. Pomodoro, https://www.arnaldopomodoro.it/en, [accessed 1st May 2013]).