Ernesto Romano, New York, 2010. Two colors.
This is one of my works about 'complementarity'.
We see an extraordinary correspondence between the man and the statue, and a complementarity of the two heads, the arms, the carried objects, the directions of the sights, the specular folds of the clothes and, mostly, the two colors.
The figure of the man enlarges downward, laying his dark shoes on the ground; the statue narrows upward, pointing the brilliant torch towards the sky. The sandals of the man, not well poised, trample on a two-dimensional, horizontal, long, serial grid of metal, while the statue (which wears sandals but we don't see them) stands on a three-dimensional, vertical, tall, elegant pedestal of stone bricks.
The dimensions of the statue with the pedestal are exactly equal to the dimensions of the figure of the man. The wall in the shade is balanced to the wall in the light.
The correspondences and the complementarities, may represent how similar we are below all the differences.
We see an extraordinary correspondence between the man and the statue, and a complementarity of the two heads, the arms, the carried objects, the directions of the sights, the specular folds of the clothes and, mostly, the two colors.
The figure of the man enlarges downward, laying his dark shoes on the ground; the statue narrows upward, pointing the brilliant torch towards the sky. The sandals of the man, not well poised, trample on a two-dimensional, horizontal, long, serial grid of metal, while the statue (which wears sandals but we don't see them) stands on a three-dimensional, vertical, tall, elegant pedestal of stone bricks.
The dimensions of the statue with the pedestal are exactly equal to the dimensions of the figure of the man. The wall in the shade is balanced to the wall in the light.
The correspondences and the complementarities, may represent how similar we are below all the differences.
Comments 4
Bravo, Maestro!
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