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Feminine Figure

Juliano Volpato - 2020

Sculpture - reclaimed carved wood (cedar)

60,00 cm height x 20,00cm width x 20,00 cm depth

USD 3.610,00

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Delivery period: 20 to 25 days to any country outside Brazil

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Product code: 14408

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THE ARTIST

Juliano Volpato

“Wood it’s a material that’s beautiful, alive, and one I have always identified with. Its different species have different levels of hardness, and this leads to different forms, always producing varied results.”

One of the most fascinating aspects of sculpture is its capacity to bring together innumerable images in the metamorphosis of its curves and surfaces, the sum of its volumes, and the interaction of each one of these forms with ... light.

In front of a sculpture, the spectator comes up close to his/her own creativity – and it is this relationship built between the observer and the work of art that most captivates Juliano Volpato in his practice.

Brazilian, born in São Paulo, 36 years old, Juliano has been an amateur sculpture since his adolescence. He took his first lessons in modeling from his aunt, the artist Marta De Nadai, and began to stand out while still in high school, in sculpture, participating in student events.

“I still have very alive in my memory, as a boy, the shock and thrill of coming face-to-face with the boy holding the eagle, in the pinacothèque of São Paulo: the Première Victoire d’Hannibal (The First Victory of Hannibal), by Antoine Bourdelle (1885),” he says. “Today I know that was a decisive impression.”

For reasons of both sustainability and availability, he carves in recycled wood, from demolition, or from urban tree pruning, and always uses hand tools – each piece is unique, sculpted from a single, whole, block, aiming for durability

He abandoned sculpture for some time, and graduated in geology from the State University of Campinas, where he also earned a master’s degree in environmental geochemistry. During his years of study, he lived in London, Segovia, Salamanca and Florence – a city which he said was determinant in his decision to return to sculpture. He learned the technique of carving in wood under the orientation of Carlos Calsavara, and today works exclusively as a sculptor.

His work is essentially figurative, marked by an interplay between mimesis and distortion. At its center is the human being, and everything relating to the human being: favorite motifs include the intersection of the body with landscape, balance, creation, creativity, music and dance, belief, symbols, infancy, and constructions of the masculine and feminine.

He applies simplicity to representation of all these elements.

His aesthetic interests cover a wide spectrum, from antiquity to the present, from West to East. He describes himself as using a summary of styles – he sees a fusion of styles as accretive, although he is particularly influenced by modernist sculptors and painters.

In his execution he takes care to ensure that the forms he is seeking are adapted to the characteristics of the material he uses, for benefit of the work. He believes these peculiarities, when incorporated into the work, oblige him to rebalance the forms, in ways that are unexpected, and which enrich the competition. Currently he works most in wood. “It’s a material that’s beautiful, alive, and one I have always identified with. Its different species have different levels of hardness, and this leads to different forms, always producing varied results.” For reasons of both sustainability and availability, he carves in recycled wood, from demolition, or from urban tree pruning, and always uses hand tools – each piece is unique, sculpted from a single, whole, block, aiming for durability, and also a very fine finish.

“With my formal education in another area of knowledge, my incursion into art was mainly through contact with artists in my family, as well as my own curiosity and reading. For me, museums and their collections are a great school,” he says: “Museums provide a repertory and a ‘vocabulary’ for an artist to work, offering the whole sweep of the human legacy in one continuous movement: It was in museums that I first got to know many of those who have become important references for me.”

Those he cites as most having influenced him are: Barbara Hepworth and Henry Moore – English; Tarsila do Amaral and Maria Martins – extremely Brazilian, along with Victor Brecheret, Candido Portinari, Di Cavalcanti e Francisco Brennand; Isamu Noguchi, Japanese-American; the ‘giants’ Michelangelo Buonarotti and Pablo Picasso; and the contemporary Tony Cragg.

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