Abstract sculpture | Respiro cosmico by Walter Perdan

Respiro cosmico

Respiro cosmico

Informative sheet

Title: Respiro cosmico
Year: 2011
Technique: Carrara marble
Dimensions: 55 x 30 x 30 cm

Respiro cosmico (English: Cosmic Breath) is an abstract sculpture in Carrara marble. The idea of a “breath of the universe" is expressed in the sculpture, intending to manifest with this thought a metaphor in which the whole universe is interconnected and in which there are subtle interrelations between different "entities". Very often, to give an explanation to this concept, it is compared to the act of breathing. As the air enters our lungs and gives life to every cell of our body, so we can think of the breath of the universe as something that allows life to every "entity" or infinitesimal particle of it.

This concept is common to find in Eastern philosophies, in the culture of many non-European peoples and in Ecosophy. Breath according to Eastern philosophies - like Zen - is closely linked to the concept of emptiness. Emptiness is not to be considered as an absence or a simple negation, on the contrary it is a field of full possibilities. Many western artists have begun to take an interest in philosophy and oriental art as a source of inspiration but also as a driving force for an inner and substantial change in their work and personality. Think of the influence of Japanese prints in the second half of the nineteenth century on Impressionist artists. The prints by Hokusai and Hiroshige greatly influenced the artistic production of Impressionism. This path continues today. Many contemporary artists are very sensitive to oriental and ecological thought. In the field of abstract sculpture, certainly artists like Anish Kapoor and Tony Cragg play an important role in sharing this concept. They are, moreover, artists that I have studied and analyzed in particular. Surely we remember Anish Kapoor for his abstract sculpture with entirely empty shapes, a clear consequence of his Indian origins and the concept that in this culture has the void. If we think of the work of Tony Cragg there is a considerable part of his production focused on the emptiness of the form that attests it as one of the best interpreters in this sense. But the forerunner of these two artists and Henry Moore, Who does not remember his sculptural works immersed in the landscape as a modern example of excellent abstract sculpture?

I also addressed the theme of emptiness in this work - Il vuoto iconoclasta (English: The iconoclastic void) - by associating the concept of emptiness with iconoclasm, a recurrent theme in the history of Western thought and in art.

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