il Tempo, grande scultore
The opportunity to reflect upon the meaning that Time assumes within the conception of our life, beyond the agonizing melancholy that the sight of ruins might create within our spirit, is the most secret thing and thus the most auspicious for this project.
Each and every one of us is entitled to choose just where we will carry out our own investigations.
Time in terms of religion is substantially different from philosophical time.
Science, meanwhile, has a starting point in still other presuppositions, and is charged with the obligation to demonstrate its relativity.
The images that make up this work take their inspiration from a text by Marguerite Yourcenar: That Mighty Sculptor, Time.
The pages of this small volume invite one to think about the effects that the combined action of Time and Man produce on how a work of art is perceived, especially antique art.
In other words: by altering the appearance of a work, how do the historic incident, the iconoclastic voluntary disfiguration, or the natural erosion of the material a work is made of, change our perception and, consequently, the meaning of the work?
[…] the sagacious or ill-advised restorations from which they have benefited or suffered, the accumulation of dirt and the true or false patina—everything including the atmospheric conditions of the museums in which they are today imprisoned, leaves its mark on their bodies of metal or stone.
Some of these alterations are sublime. To that beauty imposed by the human brain, by an epoch, or by a particular form of society, they add an involuntary beauty, associated with the hazards of history […]. Statues so thoroughly shattered that out of the debris a new work of art s born […].
Identical reflections deserve the places. There are places where time seems not to be waited for, places where even the wind, extenuated, stops its journey. During that respite the nagging old thought proposed by Borges and others before and after him is worn out: “Time is a fiction”.
Each and every one of us is entitled to choose just where we will carry out our own investigations.
Time in terms of religion is substantially different from philosophical time.
Science, meanwhile, has a starting point in still other presuppositions, and is charged with the obligation to demonstrate its relativity.
The images that make up this work take their inspiration from a text by Marguerite Yourcenar: That Mighty Sculptor, Time.
The pages of this small volume invite one to think about the effects that the combined action of Time and Man produce on how a work of art is perceived, especially antique art.
In other words: by altering the appearance of a work, how do the historic incident, the iconoclastic voluntary disfiguration, or the natural erosion of the material a work is made of, change our perception and, consequently, the meaning of the work?
[…] the sagacious or ill-advised restorations from which they have benefited or suffered, the accumulation of dirt and the true or false patina—everything including the atmospheric conditions of the museums in which they are today imprisoned, leaves its mark on their bodies of metal or stone.
Some of these alterations are sublime. To that beauty imposed by the human brain, by an epoch, or by a particular form of society, they add an involuntary beauty, associated with the hazards of history […]. Statues so thoroughly shattered that out of the debris a new work of art s born […].
Identical reflections deserve the places. There are places where time seems not to be waited for, places where even the wind, extenuated, stops its journey. During that respite the nagging old thought proposed by Borges and others before and after him is worn out: “Time is a fiction”.
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