Friday, January 14, 2022
Shut up and Look
Talking about Art is like dancing about food. I don’t remember the
exact quote but it was expressing the futility of translating one medium
into another.
Of course one can talk about Art, give technical
information about its execution, point out the iconography and
iconology, to alert your attention to elements you might miss during
your brief encounter with that work.
I like an art critic or
anyone that tells me a story about a work of art, only if they tell me
what that work does/did to them. This way, a new “work” emerges.
I
am not going to translate my figurines/small statues for you. Look if
you like, feel and think what you like. However, I have noticed that a
great number of people who looked at them and wrote me their thoughts or
asked questions, missed to see what really drives me to do what I do.
So here’s what’s behind my fingers, when I sculpt a figurine.
My
encounter with the human naked body took place at a very early age
(months old) because I was brought to a naturist beach during summer. My
sex instinct was not awaken before the age of 6 -7 so all the nude men
and women I saw on the beach were just that: humans as they came into
the world, naked, like myself.
Of course the beach was not a gym or erotic movie set, everyone was freely exposing their body to the Sun, not to a jury.
For whichever reasons, society diverged from that position and the exposed naked human is expected to be an Olympian citizen.
The curves and volumes I model in my statues, to me, are only lines
and volumes that feel under my fingers like music feels to my ear drums.
For
this reason I sometimes exaggerate proportions because a statue is an
object that can be hold in your hand and turned around. Each angle gives
me another “visual song”.
Regarding the size of the penis, which often is exaggerated.
Oscar Wilde said, and I fully agree, everything in life is about sex, except sex. Sex is about Power.
Being a male, I grew up observing the world through this perspective and I was influenced by it, to a certain degree.
The
original Olympic Games took place in the buff and wrestlers competed
naked. As one can see in photos of modern wrestlers during competition,
some get erections under their suits. It’s a normal physical reaction,
in body combat men get the adrenaline running which rise their mast. The
same reason is behind the cheerleaders before an American football
game, they’re there to titillate the sportsmen, to charge them with the
energy they need for the game.
So when I sculpt men in wrestling
positions, with unusual penis sizes, I visualize the Power rapport going
on there. Have you ever seen a man with a penis half his body size?…
The
Japanese Shunga paintings depict the Japanese men with enormous
penises. It’s their way of visualizing the male power in that sex
encounter.
One last thing about men sexually interacting with another man, as seen in some my works.
A
man is an active sex partner. His penis can penetrate another human
body. It is also naturally possible that the same man can be penetrated
by another man’s penis. There’s that equal potential in there that I
illustrate. A man being penetrated is named by uneducated culture as
“passive”. More recently the gay culture started to understand the
limitations of that notion and invented the term “aggressive bottom”.
Penetrating or being penetrated has little to do with the character and “power drive” of that man.
The
Japanese traditional culture, before being flooded by Western morals
and religions, observed as normal the male/male body relationship. All
cultures did that, from The Greeks and Spartans, to the Romans and
Arabs. Plenty of accounts there.
In Japan the Samurai is portrayed as
the one penetrating his male personal assistant (shudo), to illustrate
that rapport of Power. They often wear their swords during “sex”. But
there are stories of skilled Samurais being “passive” in their love
making.
Alexander the Great was known to swing both ways, Tiberius the Emperor was “a man with women and a woman with his men”.
Like
everything else, history comes back in new forms, someday the people
will not find unusual the statue of 2 men body wrestling and sexually
charged, carved in marble, at the Louvre. It happened before and this is
how we got where we are, nobody died. Morals also change and are not
universal. A huge woman in one culture is venerated, in other is shamed.
A man with a very small penis is regular in some parts of the world
while in others only a horse sizes gets attention.
As I am not
making pornographic statues (feel free to see just that in my works),
what is sculpt is an energy present when two men interact, the way I see
it. Turning that energy into matter is what drives me to spend many
hours sculpting. The Material Echo of two men confronting each other in
society is what I see in my head and flows through my senses, when my
fingers touch the clay or carve the stone.
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