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The sculptor s talent is even more apparent in these works, in which, once again, he resorts to reference finding his models in classical sculpture. We can therefore see how, without compromises, he resolves anatomy and achieves the depiction of the deteriorated skin. FANTASTIC BEINGS Beyond symbolism or metaphor in this artist s work, is the physical place. This is of the highest quality, an ever rarer attribute these days. The castings in this chapter of Jorge Marin s production come from other series previously executed and modeled traditionally in clay with live models. These mark the beginning of his artistic path. Equipped with the skills of an art restorer, he modified his technique depending on creative needs. Soon, clay pieces began to emerge with a patina and with incrustations of non-sculpted materials, such as eyes made of glass beads, or objects often of a religious nature. Most of these works formed a set of fantastic beings that were combined with the human figure: centaurs, chimeras, mermaids and new hybrids that appeared from his hands prompting a peculiar restlessness within the observer. 118

Years ago, maybe over ten, I wrote a brief piece that I entitled also borrowing Eyes that Give Panic to Dream… in which I highlighted his peculiar nature, somewhat surrealistic, amusing and wicked. Over the years, Marin s characters have veered away from these early plump infants to become winged human figures, both male and female. Works like Paternity and Louvre again refer to the recycling of an image transformed by memory and individual creativity. In the second piece, for example, we can see how characters such as Caravaggio s St. Paul falling from the horse and blinded by divine light can be incorporated into the same scene with others as diverse as ones from Ruben s Rape of the Sabine Women or The Rape of the Daughters of Leucippus. The important thing is that the group works as a composition telling its own story. A naked man firmly supports himself on top of an obelisk while a sensual, winged female figure is brought to earthly space, while a third also winged, masked and male stares terrified at the feet of the human being. The artist s genius is evident from his handling of complex situations with multiple stories. The arrangement of the group demonstrates additional tension when he decides to develop it on a slippery triangular prism.

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