EARTH and HEAVEN
From 20th May up to 30th September 2019
Piazza dell’Anfiteatro, Real Collegio, Le Mura e Baluardo di San Frediano, continuing ideally in "Piazzetta del Teatro" a Pietrasanta
From the 20th of May to the 30th of September the bronze works of the Sculptor native of Castiglion Fiorentino, Arezzo, Andrea Roggi, will be exhibited in the magnificent environmental and architectural frames of Lucca along a path articulated on the Walls around the Baluardo of San Frediano, inside of the "Casermetta" in front of it, in Piazza dell'Anfiteatro, in the Real Collegio, where the vernissage will be held the 12th of June, starting at 5.30 pm.
The places of the Exhibition, both external and internal, are able to enhance Roggi' sculptures by creating a highly evocative combination of the poetics of the exhibition, entitled "Terra Mater" (Mother Earth).
The preview of Andrea Roggi's Exhibition is scheduled for Wednesday the 12th, from 5.30 pm, in the so-called Chapter Hall on the ground floor of the Real Collegio.
The Exhibition that began on Monday the 20th of May with the monumental and large format works installed in the external urban spaces, will continue with the preparation of the interior spaces of the Baluardo of San Frediano at the beginning of June, until Monday the 30th of September and can be visited every day from 11:00 am to 7:00 pm.
These are works of various formats, from the monumental to the medium-small ones, in which each time the artistic flairand deep lyricism of the Sculptor is declined; they will be set in some highly scenic areas of the city in a perfect dialogue with them.
The Tuscan Sculptor is an absolute “virtuoso” of bronze: his refined structures at first glance impress with the wisdom of the technique conjugated to oscillating subjects between quivering figuration and spiritual and emotional trans-figuration, in perpetual exaltation of the salvific and fruitful power of Nature , the Mother Earth, fil rouge and title of the Exhibition.
EARTH and HEAVEN
"Roman divinity that clearly reveals itself as the result of secondary development, carried out in historical times and under the influence of Greek religious ideas, of the ancient Goddess Tellus.
This has only the character of an agrarian divinity, that is to say it is the Goddess of Vegetation, of Sowing and Crops, without any relation to the cult of the dead. [...]
Instead, the concept of the Terra Mater was formed in Rome only later.
The passage from Tellus to Terra Mater through Tellus mater is not sure, and certainly would not have occurred without Greek influences.
The Earth is now in relationship with the cult of the dead, and it is considered as a divine force that has in itself the seeds of life and death. [...]
It is not, however, like the Greek Gaea, the passive female element in contrast to the masculine active element of the sky (Uranus) or of the sea (Oceano); but it is the ground in its double meaning both of field of the harvest and place of burial. [...]
It is certain, however, that the ancient Goddess Tellus has now become Terra Mater and it represents the generating power of the soil, hence the life of plants and animals and the existence of men themselves”.
Franca Parise Badoni
Encyclopedia of Ancient Art (1966)
From the 20th of May to the 30th of September, the bronze sculptures of artist Andrea Roggi will be exhibited in the enchanting architectural backdrops of the city of Lucca in the circuit of the diffuse solo exhibition entitled "Terra Mater- Earth and Heaven" (Mother Earth - The Earth and the Paradise).
The subject is particularly loved by the artist, with his sensitivity, so intimate and dreamlike at the same time, intensely spiritual, philosophical and sentimental in the highest sense of the term, Master Roggi makes tangible the Intangible materially realizing his creative ideas through a sophisticated material manipulation of its distinctive element, bronze, as also in line with the michelangiolesque maieutic, marble.
The Master's evocative works decline the suffused mysticism of his poetics into archetypal forms linked to the theme of Mother Earth (Terra Mater): symbol of the Great Mother, of primordial Matter, Goddess of Nature and Spirituality, the divine source of every birth that gives and sustains life and that it returns to itself to be reborn as in the cycles of vegetation.
Emblem of Fertility in its image of luxuriant and fruitful nature, it is considered the Feminine Principle par excellence; the Great Mother is a primordial female divinity present in almost all mythologies, representing the Earth and the Feminine intended as a mediator between the Human and the Divine.
In ancient times, in matriarchal societies, of egalitarian character, where there was a particular respect for Mother Earth as a symbol of the Great Mother, women were -by virtue of this- considered and valued in their highest qualities and the Power of Feminine was understood not as dominion over manhood but as the capacity to illuminate the spirit of the whole humanity.
Illumination and virtuous Transformation of human Consciousness manifested themselves through the spiritual power emanating from the Feminine, which revealed itself not only in Knowledge and Wisdom, but above all in the sense of Truth, Love and Justice.
These qualities will later be attributed to the Virgin Mary; the Dispenser of Birth and the Mother Earth merged in perfect syncretism with the Madonna, the ancient spirituality of the Great Mother gradually faded away until disappearing as a result of the encounter-clash between different cultures and the subsequent affirmation of the monotheistic patriarchal religions with Western primacy of the Judeo-Christian belief.
The Mother Earth (Terra Mater) is an iconographic and symbolic motif, always cherished by the Tuscan sculptor, since it contains in its signifier and meaning his aesthetics and his ”artistic-intellectual manifesto", in a Heraclite flow between figuration and trans -figurazione.
Terra Mater appears to be equally the title of a monumental work in bronze in the shape of a world-sphere made with a particular technique conceived and patented by Roggi himself, which gives a substantial, earthly and magmatic perception to the bronze material, appearing to be crossed by atavistic chthonic and telluric impulses.
Other monumental works, ascribable to the theme of the Tree of Life, a vital and luxuriant element of the Terra Mater, are dedicated to Fertility, to the Love that saves the World, to the Roots of our Future, to the Memory of an Instant.
The Tree and its branches appear among the fundamental esoteric elements of the Earth.
The Tree participates in the three constituent layers of the universe: the Underworld with its roots plunging into the Earth, the Middle World whose trunk represents the surface plane, the World of Above that one of the Gods with the branches that tend towards the Heavens.
Linked to the conception of the Cosmos, the Tree is the image of the vertical ascent towards the Heaven; its branches, nourished by the sap that rises from the roots, with its fruits, possess and expand the life force of the tree itself.
As such, the iconography of the Tree is fundamental and of great importance in ancient civilizations; it assumes the concepts of wisdom, sacredness and divine power, as well as a means of transport through the states of Being and of the Cosmos.
Often in Nordic myths, the warrior or hero is compared to a tree, to symbolize the nobility of being; in the traditions of the North, as in many other ancient traditions, Knowledge is often transmitted from the female element to the one who passes the initiatory tests that are placed before him.
On particularly fascinating urban glimpses, there are also some works of the Master's last production, Continuum (the Circle of Life) and Time, which present a progressive stylistic rarefaction up to the formal abstraction, in which materializes in facts the passage between a figurative sculpture and a trans-figurative one.
The artist from Castiglion Fiorentino, in the province of Arezzo, chooses the sphere, the circle, the world as a symbol of Mother Earth together with the tree (in the iconic Tuscan plant and landscape elements of olive and cypress), with evident roots and the branches, to convey his philosophy characterized by respect for Nature, memory and traditions rooted in our history as at the same time the hope of the moral and intellectual rebirth of humanity thanks to the spiritual elevation obtained from aesthetic contemplation and intellectual reflection.
The sculptures are made in various formats, from the monumental one for the eleven sculptures positioned along the walls and in cardinal places of the Historical Center, up to those of medium and small dimensions for the works present around and inside the premises at the Bulwark of San Frediano, in which the artistic inspiration and the profound lyricism of the sculptor are combined.
The entire corpus of the works selected for the exhibition are set up scenically within an ideal path that starts from the ancient Walls, the Bulwork of San Frediano, inside the “Barrack” in front of it- which will become for the occasion of the duration of the exhibition "The Circle of Life Temporary Gallery" -, in Piazza dell'Anfiteatro and inside the cloister of the Real Collegio.
In this latter place the vernissage scheduled for June 12nd will be held; the exhibition continues virtually in Pietrasanta, in Piazza del Teatro and inside the artist's permanent gallery "The Circle of Life Gallery-Pietrasanta".
In this exhibition so evocative, the Tuscan sculptor once again reveals himself as an absolute bronze virtuoso: his refined structures at first glance impress with the wisdom of technique combined with oscillating subjects between quivering figuration and spiritual trans-figuration and emotional, in continuous tribute to the saving power of Nature, or Terra Mater, the common thread of the exhibition and the title of the exhibition.
Marina Azzurra Lulli
Paradise is under our feet
as well as on our heads
Henry David Thoreau