Executed in 1991, this work is number 6 from an edition of 9, plus 1 artist's proof and is catalogued in the archives of the Arnaldo Pomodoro studio with the number AP 648.
Signature: incised with the artist's signature, date 1991 and number 6/9 on the base
Kanagawa, The Hakone Open-Air Museum, Arnaldo Pomodoro 1956-1993, 1994, p. 72 (another example exhibited)
Brescia, Allegrini Arte Contemporanea, Arnaldo Pomodoro, April - May 1995, pp. 20-21 (another example exhibited)
New York, Marlborough Gallery, Arnaldo Pomodoro, January - February 1996 (another example exhibited)
Flaminio Gualdoni, Ed., Arnaldo Pomodoro: Catalogo ragionato della scultura, Tomo II, Milan 2007, cat. no. 897, p. 709, illustrated
Marlborough Gallery, New York
Acquired from the above by the present owner in 1996
About Arnaldo Pomodoro
Arnaldo Pomodoro thinks of his massive, architectural sculptures as “crystals, or nuclei, or as eyes, or signal fires,” he says. ”I see them as relating to borders and voyages, to the worlds of complexity and imagination.” Drawing on his training in architecture, Pomodoro’s concerns center on the relationship between each individual sculpture and the space in which it is installed. Early on, admiration for Paul Klee prompted the artist to translate Klee’s linear drawings into dimensional elements in his early relief sculpture. Ultimately, however, Pomodoro became known for large, free-standing geometric forms, especially columns, cubes, pyramids, spheres, and discs. Works such as Rotator with a Central Perforation (1969)—a bronze sphere—exemplify his smooth, streamlined style and devotion to idealized shapes, often reminiscent of Constantin Brancusi. Unlike many of his contemporaries, Pomodoro insists on partaking in the physical fabrication of his work.
Italian, b. 1926, Morciano di Romagna, Italy, based in Milan, Italy