HOMAGE:
THE BAMBOO GROVE
During
the Spring of 1993, I had the pleasure of returning to Italy
and the foundry of artist and friend, Harry Jackson, at Fonderia
Jackson-Mariani in Pietrasanti. I arrived Easter for three months
to create a series of bronzes for an exhibition scheduled later
in Firenze. The initial content for such an exhibit was to have
been a series of 3-dimensional bronze castings of selected computer
generated sculptures which I had designed during the past four
years. I labored through the execution of only one such replication
from the computer images. Within my sensory perceptions of the
sculptural idea, the computer had already provided a level of
sustainable closure and the replicating process into a "real"
material was as close to drudgery as I wish to come. I needed
a new concept and a new material in my head and hands. My hands
had been denied the tactile contact with anything other than
the mouse. Fortunately, the Sixteenth Century Villa
de Pinaro was over the hill from the foundry with its great
stands of towering bamboo. It was into its grounds I trudged,
machete in hand, to gather the new material "Bambu"
for all the ideas set in motion. This is a homage to that standing
bamboo and its gift in coaxing forth ideas which had lain dormant
since Japan. The fallen bamboo signifies its metamorphic sacrifice
through fire in becoming bronze.
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HOMAGE: THE BAMBOO GROVEDuring the Spring of 1993, I had the pleasure of returning to Italy and the foundry of artist and friend, Harry Jackson, at Fonderia Jackson-Mariani in Pietrasanti. I arrived Easter for three months to create a series of bronzes for an exhibition scheduled later in Firenze. The initial content for such an exhibit was to have been a series of 3-dimensional bronze castings of selected computer generated sculptures which I had designed during the past four years. I labored through the execution of only one such replication from the computer images. Within my sensory perceptions of the sculptural idea, the computer had already provided a level of sustainable closure and the replicating process into a "real" material was as close to drudgery as I wish to come. I needed a new concept and a new material in my head and hands. My hands had been denied the tactile contact with anything other than the mouse. Fortunately, the Sixteenth Century Villa de Pinaro was over the hill from the foundry with its great stands of towering bamboo. It was into its grounds I trudged, machete in hand, to gather the new material "Bambu" for all the ideas set in motion. This is a homage to that standing bamboo and its gift in coaxing forth ideas which had lain dormant since Japan. The fallen bamboo signifies its metamorphic sacrifice through fire in becoming bronze. |
