The "Sphere of St. Leo" is very different from my previous spherel. After so many speeches on this form that I remained back at the beginning: thinking about the Middle Ages - the fortress of San Leo was at that time - I marked the surface of the sphere with arrows, teeth, tie rods, as a remembrance of an ancient war ordigno . There is the contrast between the bright and smooth surface and its interior devoured by fingerprints and signs. It seems that the erosion has reached even the outside, with a menacing presence but dynamic, because there is another sphere in smaller, polita and intact, that is trying to emerge "communicating to - as Jacqueline Risset - an idea of birth and renewal that seems to contradict the disaster. " The copy of the bronze in 2004, was installed permanently in Milan Santa Giulia, the new district designed by Norman Foster, commissioned by Luigi Zunino, in 'former industrial area of Montecity-Rogoredo.
The "Sphere of St. Leo" by Arnaldo Pomodoro with its 5 and a half meters in diameter outside the airport in Bari, dedicated to Pope Wojtyla, says rethinking began in the early nineties about the perfect geometry of the circle and the sphere, which stood part of the poetry of the famous artist. They bind many of its success in large public commissions, from the "Big Sphere" - three and a half meters in diameter - in bronze, made for the Expo universal Montreal in 1967. The current sphere, designed for the exhibition of 1997 in the mighty fortress of Montefeltro designed by Francesco di Giorgio and where lived as prisoner Cagliostro, has several reasons for novelty. E 'wrapped and marked by strong bands and bolts, like a giant, devastating ball from ancient sieges. The teeming germination of the signs that scavava the interior volumes also attacked the cabinet, makes it a skin butterata or a crust of planet shocked attack from arrows and teeth, like those of Scettri. Explodes an energy that breaks through the belly pregnant until giving birth to a child who pretends globe life, with dramatic monstrosity. More fantasies of past and future - a kind of medieval next year - take the work of this powerful suggestion. The version exposed fiberglass in Bari it accentuates the propensity to an apparatus allucinatorio, fantatecnologia cosmic.
The idea of a tower in the form of a spiral growing and enveloping, increasingly thin, together with a sense of equality and raising dates back to a project of 1985 for a sculpture to be placed in the park in Paris Saint-Cloud. It was a new invention which I then developed in different versions and taken in the great work "1900," commissionatami by the City of Rome on the occasion of the Jubilee to celebrate the passage of the millennium, and installed in the square Pier Luigi Nervi in 2004. The sculpture wants to express movement, to "become" constant and the dynamics of crossing space that today is of our civilization. The development revolving "bends" allows you to imagine a climb and the series of abstract reliefs placed tutt 'around, with arrows, grooves, holes and twists, gives a strong imaginary and symbolic value: it is a "monument to the twentieth century, the century of the invention and development of ideas, and also the century with its contradictions and its tragedies has put in crisis the concept of history as progressive development, as a "continuum" in view of its own fulfillment.
The "tower spiral "in bronze that stands up to 5 meters at Airport of Salento is the first actual implementation (1985-94) of geometry figure in the long experience of Arnaldo Pomodoro: the cone, after the spheres, cylinders, discs that made it famous since the sixties. It is a full volume gradual upward of a metal band that is narrowing, so as to enhance the idea of wedge, once again pointing at the sky. As the strip narrative that exalts in bas-relief, all around the Column of Trajan, the company victorious Rome against the Dacians. But the adventure that Arnaldo Pomodoro want to evoke is that of a century, the twentieth century, where codes of secular tradition, the civilization rooted in the depths of history, they encountered with a revolution unparalleled language and behaviour.
The momentum towards the progressive future that is connoted has the modern vanguard, was put into crisis by too much disillusionment, for too many tragedies. And 'This is the affair to which the sculptor alludes, disenchantment with post-modern, as suggested by the shape subtly ironic, inverted cone.
However well-adapted to the idea of paths that take place in the sky. A new dimension of travel metaphor always been dear to the artist who invented over the years
Sixty "columns of the traveller," as tribute to the "endless column" of Brancusi. And in constant dialogue with the city that rises on its port open Orient column terminal of Appian Way.