布魯諾.羅曼內利 Bruno Romanelli

安德魯.布華頓.如是說

基斯.卡明斯對另一位藝術家布魯諾.羅曼內利(Bruno Romanelli)的創作特色談到:

「……如同本次展覽的藝術家們,身為柯林.雷德的工作室助手,他們的創作是有互相影響的,尤其在羅曼內利成熟的作品中顯現。儘管大規模的窯鑄玻璃的技術控制是顯而易見的,但羅曼內利對每一次吋細節的用心是獨特的。他專注運用幾種有限的幾何形狀與顏色做表現,我們可以從精準的作品,體會到一種深刻宏大的紀念感。他對創作的控制是絕對的,不容許意外或隨機的效果。」

《掌心》Squeezed Vessel S3/photo by Andy Smart, AC Cooper

這種非凡的控制力量,在羅曼內利早期創作已有展現,包括作品《掌心》(Squeezed Vessel S3  2013),以及他2018-19的系列創作中,其作品命名引用了北歐神話中的人物和天文概念,例如《貝斯特拉》(Bestla)為北歐神話中的冰雪女神。

《貝斯特拉》Bestla/photo by Andy Smart, AC Cooper

以及《那維》(Narvi)為北歐神話淘氣和惡作劇之神洛基之子,並且土星的衛星也以此兩者命名。

《那維》Narvi/photo by Andy Smart, AC Cooper

《西考拉克斯》(Sycorax)來自莎士比亞晚期戲劇《暴風雨》(The Tempest)中的邪惡巫婆母親角色,同時天王星衛星17也以此命名。

《西考拉克斯》Sycorax/photo by Andy Smart, AC Cooper

羅曼內利系列創作皆用圓形作抽象詮釋,因為圓形是宇宙星球中常見的圖騰形狀,且代表著無盡的想像力來源,同時,此意象也可表達永不止息的詮釋,或者有時也可能完全沒有詮釋,而只專注於抽象和具象物質世界之間的平衡。

《阿爾克俄涅》Alcyone/photo by Andy Smart, AC Cooper

Andrew Brewerton said……

In Keith Cummings’ words, from 1991–3, Bruno Romanelli (b.1968):

… benefited, like a number of others, from working as Colin Reid’s assistant, and it is easy to see the influences in Bruno’s mature pieces. However, although the technical control of large-scale casting is evident, the uses to which Bruno puts this are every inch his own. Bruno works with a limited range of geometric forms, with limited colour, and a precision of surface that means he relies on the complete control of each element to achieve the austere monumentality of his pieces. His control is absolute, allowing no room for accident or random effects.[1]

This extraordinary control is as self-evident in the earlier, figurative phase in Bruno Romanelli’s work, represented here by Squeezed Vessel S3 (2013), as it is in the 2018-19 series whose titles seemingly invoke characters from Norse mythology and astronomical abstraction [Bestla (a frost giantess) and Narvi (Norse god of wrongdoing) are also names given to moons of the planet Saturn. Sycorax is the evil witch mother of Caliban in Shakespeare’s magical late play The Tempest (1610-11) and the name attributed to a moon of the planet Uranus]. Romanelli’s serial engagement with the circle as the very figure of abstraction – as a universal geometrical motif and as a source of seemingly inexhaustible imaginal power – might lend his work to unending interpretation or to none at all, but the compelling presence of this work resides in its formal perfection, in the balance and equilibrium of its abstract and material qualities.

[1] Ibid., p.171

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