Page 15 - Masters

 GLass sCULPtUre, vENICE BIENNIAL /OPEN, LIDO OF vENICE, vENICE (ITALY). 
sPLasH, 2006 FINE ART PHOTOS, SIzE A1

A kind of disillusionment and irony supports
Edoardo Pla’s compositions, illuminated by
an internal gleam that denotes a path of
augmentative processing, as it not only
shifts the location of reality from its initial
static position, but also valorises its ability
to relate, a suspicion that can only be
arrived at through the artist’s creative and
uninhibited imagination.
T h e “… i n h e r e n t m y s t e r y o f a r t
expresses its ability to be appropriated,
that which, despite all at tempts at
interpretation, remains inexplicable
and incomprehensible… The mystery
is imposed on art by the non artistic
natural of realit y and the artist, as
someone estranged from society, imposes
hermeticism on himself…” (A. Hauser, The
Sociology of Art .)
The respec t ful sense of perplexit y
corresponds to the awareness that not only
the mystery of art cannot be appropriated,
but also the mystery of life itself. The only
path open to the artist is to start off from
the clarity of all this, from the apparent
clarity of things, to arrive at the gleam of
the sculpture which, in the half-light of its
own evidence, represents the enactment
of the feeling of perplexity. Pla’s secular
perplexity produces an iconographic
universe of painting, sculpture and drawing
which betrays uncertainties, if anything a
“passion that is liberated in detachment”
as indicated by goethe to define irony. An
effective weapon for delicately controlling
the deep drives involved in every creation
and, at the same time, for protecting
without dogmatism the conceptual grid
that is indispensable for every operation
concerning the intellect and the hand.
Including sculpture.

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masters of today