5 - 2017 - German Arzate

Every morning when I wake up, it becomes almost impossible for me to stop thinking about how special it is that before this dawn, there was a sky covered by extensive darkness, like the first breath of a baby, giving way to life, and how my own life, guided by my masculinity from birth, would not have existed without the presence of a feminine essence that nurtured my existence. That is duality.

But when I speak of duality, more than anything its significant presence in many cultures and religions, especially in one as extensive and rich as that of the ancient Maya.

My life, like everyone’s, is governed by this culture according to the constant presence of two principles of great supremacy that react independently, but that never cease to have a protagonism with each other. In my studies and research to seek new sources of inspiration for the realization of new expressions of art, I have been able to realize how the quest to express harmony and balance in each of its cultural aspects is present.

Living as a result of duality is simply understanding that in life there will always be two opposing forces that struggle against each other, but it is also true that in this struggle, a harmony of expression can always be achieved, which can be admired.

The Descending God

The majesty of the sky against the solidity and firmness of the ground confront each other to welcome a divinity known popularly as the Descending God. Imagining a god descending from the sky to give divine presence to the peoples of the earth was very common.

This god not only represents an entity of strength that comes from the heavens, but also highlights that great differential line between the peoples that are on the earth, and that despite their differences, that relationship in duality will always be present.

He is represented with a figure with his head facing forward, his arms hanging at his sides, and legs flexed as if he were descending from the highest heavens. Its historical representation and its rustic traditional aesthetics make it much more striking for representing those important details of the culture.

Venus – The Evening Star

Just as the world can give me good news, for the Maya, Venus meant much more than an evening star that announced the morning for almost 90 days in their calendar. This celestial body showed a synonym for bad news, ominous signs, and the approach of new wars that would affect the constant living of this culture. Once again, the duality of beliefs and influences of an ancient generation is present even in the organization of future events of this past era.

Morning signifies new beginnings, but a sky adorned with this morning star marked the beginning of new reactions and actions that alarm an entire culture.

At the artistic and sculptural level, Venus is represented as the warrior God who in his hands rests arrows prepared for the attack, while on the ground beside him lies a mortal enemy, who succumbs in pain from a dart in his body.

What makes us think of it as a celestial element, of great brightness and presence, brings with it an antagonist so dark and cruel, that it expresses emotions extremely conflicting both visually and internally.

Feeling the power of the Sun and the Divinity of the Moon

Understanding that constant harmonic struggle that is appreciated in Maya culture and in its history is not something that should only be admired through textbooks or by visiting historical centers here in Tulum, I just have to admire from my window and see how the sunlight reacts to the bodies of the earth to create shade in an illuminated world.

This same relationship is found within me and is what I always seek to express in each of my works and sculptures, because just as I can feel complicated emotions seeking to emerge, I know very well that others can also witness them in their lives.

This is also reflected in the presence of the sun and the moon in a culture as vast and extensive as that of the Maya people, where the Sun, by expressing a constant beat of life and firmness, seeks to be in harmony with the delicacy and spiritual presence of the moon in the same sky.

Many stories say that both celestial bodies sought to fall in love and live together, but that very few times in certain periods of time have they managed to meet to create events that have marked the history of our humanity.

Personally, I think that this search is not only reflected in history, but also in my daily life, in my adult life, and even in my life of memories, because internally we are always in that process of meeting ourselves, to be able to express the best part of ourselves.

Whether with words, gestures, music, or in my case with sculptures and plastic art expressions, being able to transmit that harmony that is found in the conflict of history is vital for growth and is something that has inspired me exceptionally.

I will never be light and I will never be darkness, I will always be a living expression of both entities, which seeks with its hands to express conflicting emotions, I still do not know myself completely and I live to know myself every day, but no day will pass without thanking this great Mexican influence, its cultural cultivation, and its living torrent that still remains in progress for the present.

In these bronze sculptures, love is a complex word because more than a word, it is a feeling, an emotion, something that is neither tangible nor palpable, it is something that is simply felt or not.

Love has also been mentioned in countless artistic matters, not only in bronze sculptures, but also in painting, poetry, and literature; it is a concept that is always linked to something that goes into the shadows and into the duality that also signifies experiencing heartbreak.

When you make a bronze sculpture, you put love into it, you give presence to your presence, you deliver the emotions and the feeling is present, the love for art, the time you dedicate to it, it is a way to immerse yourself, to express, feel, and become passionate.

Everything is there captured in the bronze sculptures that I create.

You feel a particular love because this bronze sculpture was part of your essence, it is there and you captured it, you left a legacy.

Here comes the artist observing another artist feeling love for things, picking a flower and caressing it, feeling its temperature, feeling its texture, feeling its shape and its color.

MÍA

This bronze sculpture is a poem to love in the sense of an embrace, a kiss, a penetration, a possession, an endless thirst for the person in front of you.

A perfect duality of love as it possesses complete possession.

It doesn’t matter if it’s a family member, a partner, a child, or those around you.

Loving so much that you feel part of yourself.

It has the masculine duality of tightening, possession, touching, feeling, making everything yours, without limits, and on the other side the feminine, which is the surrender, the trust, the giving, letting go, flowing.

This duality exists in every man and woman, both awake… and we have always played both roles.

Passion

Passion has always been part of my life in terms of doing things, but also passion once I understood love, once I understood how instincts worked, your way of expressing yourself, I realized that it all started with a mouth, a neck, a nose.

A passion that perhaps makes us think of the body, towards the erotic or something more grotesque. Here, passion is a subtle gesture, a glance can be a courtship, a word a compliment, but passion is precisely when the touch begins, that touch and that way of feeling.

When I wanted to capture this piece, I started with a mouth, a neck, a nose, the doubt was whether to put the face or not, if it was all the same, a couple kissing, a couple looking at each other, a couple feeling each other, it had to be something subtle, I wanted triangular and straight finishes so that all the beauty would focus on the slight touch of two chins, that was the idea, I made it in a structure where the most difficult thing with clay was the most complicated.

Passion is one of the bronze sculptures that transmits passion for life and things, passion for doing things, passion for oneself, the passion for that strong bond to what you want, that search, that feeling, and that commitment to fight for what you want also has to do with the couple, with love, this one I have given to patients or friends who fight for some passion, for things or for the couple, no matter how you manifest it, passion is what counts.

Intimate Touch

For me, this is one of the bronze sculptures that express the sometimes physical, chemical, or ethereal approach of one person to another. I wanted to point it out very subtly.

Erotically subtle and at the same time in a mystical way.

For me, hands have always been the most interesting tool to approach others. The touch, the feeling, the caressing, that is something that is very important.

When in some way I feel that the approach with someone can be felt with the smallest millimeter of your skin with theirs, there is an discharge of electricity, an exchange of energy and adrenaline, emotion that is at the same time an approach to the unknown.

Feeling what the universe of that being next to you is like. And that I express in this collection of bronze sculptures.

It means that there are two worlds that come together in one universe, it is a sea that becomes one, a restless sea from which two hands emerge and each hand is in a position where it emerges and turns to look and feel the other, a man’s and a woman’s hand representing the masculine and feminine sides. Perfect symbiosis.

The strength, the energy that your hand contains as it approaches another. The masculine part seeking, feeling, and touching simply very subtly in some hand lobes causes from the female hand to emerge electric discharges represented in rays, in this way an intimate touch is created in this bronze sculpture.

It was interesting how to represent in this particular bronze sculpture two hands in a courtship where they can make the other feel a discharge and at the same time that it was elegant, that it was majestic. I had to look at my hands a lot, the hands of others, the positions, that is the most important thing.

If emotion always wins, your internal emotion is what we must follow, intuition and the way of how to make others feel and make you feel.

It is precisely when you approach and somehow have the perfect touch with a perfect one and you turn to see energetically how that discharge reaches you.

In these bronze sculptures, love is presented strong and overflowing but also subtle. It is this duality of feeling that has fascinated me most in life.

German Arzate, Mexican sculptor.

My name is German Arzate and I am a self-taught Mexican sculptor. I have created art sculptures in bronze but I have also worked with different materials.

Since I was a child, the process of sculpting has called to me. Playing in school with clay, I never limited myself to making animals but explored new forms.

In the Natura Collection, the art in bronze with animal figures has a very personal touch. In it, the animals express the characteristics they share with us, human beings.

The entire collection has certain lines that imitate muscles or caresses of the wind, as if it were aerodynamic with a perfect machinery. In this case, I decided not to go for art in bronze because the material allows you to express different things.

The source of these sculptures, some of them in bronze art, is everything I mention but also reaching the animal world with this collection and making it part of what is always looking for duality within the same piece, within the same there is modernity and nature.

That is what drives me.

Nature has much of man and man much of nature. This duality of existence accompanies a large part of my sculptures.

Lion

The lion is a stylized version of aesthetics and seeks a more modern sense in this bronze art.

I have always been struck by the fact that the lion has been present in great empires, it is a representation of authority, strength, and leadership.

The lion has been made in different versions. It has always been present in palaces, castles, because it is an animal whose strength you can always recognize and it is the strongest and most powerful feline of all felines.

Empires have always sought to have a lion guarding and protecting the entrances, which demonstrates leadership.

When I made this bronze art sculpture, I realized that you can have a lion in your house, but why do you have it? What do you want to demonstrate?

The simple fact that a lion is present at an energetic level denotes leadership, there is an empire, there is strength…

Cubic Bull

When I made this piece, the cubic bull was a challenge first of all because it entered the subject of bulls.

Every time you mention the bull, it means being in favor of bullfighting.

I have never participated in bullfighting, I would be the first to be there if the fight were fair, I believe a lot in the part where if something is fair, go ahead…

For me, making a bull was a challenge and today that I have done it, I can say that it is hypnotizing to be able to feel every muscle, those movements, that delivery of the animal is one of the most impressive things. I chose another material other than bronze art for these meanings and nuances.

Panther

I wanted to make a bronze art of a feline that would be representative of skill, cunning, sensuality, and at the same time something that is very elegant.

For me, the panther is bronze art that represents the preparation to do something, strength, and attack.

A way to represent when someone has a project in mind, when they are going after something or someone; in how every movement must be balanced, I saw this when I saw how a feline of that size moved to stalk its prey, for me, it was a source of inspiration that an animal has that majesty.

Any feline makes me see its muscles, the bones between the skin and the subtle but firm footsteps, and that’s how we have to be in business and in life.

This bronze art is dedicated to a great planner, observer, and executor. This in daily life is seen everywhere, from what we want to do, our decisions and handling, being cautious, in some way exact and careful with our words and actions.

Sometimes it takes work to realize it but it is part of a teaching, the power to reach that perfection that the panther can give.

It took me two months to give it the perfect movement, to make the tail, the claws, the muscles, the look, and everything it has seen in a single bronze art sculpture: balance, skill, and strength. This piece strikes me as highly elegant.

Modern Horse

In this sculpture that I made some time ago, it was very interesting because it was in fact the first piece that I wanted to bring out as nature, I wanted a different horse, one that did not look like the others, to give it the strength and spirit in a very stylized way. But always making the equine look like such.

The meaning is precisely that it is a piece that speaks of strength, freedom, dominance, and at the same time a strong spirit. It is for someone who is not only a horse lover but who likes things their way, it is for a free, revolutionary, and wild mind.

Why did I want to make a horse this way? It is a cry for freedom, it is a cry for doing things right all the time with impetuous force. I liked the modern theme because it allowed for a special form, a form that does not go out of style and that is of the moment.

The emotions are wild, rebellious, obsessed with perfection, always breaking out of normal patterns. It is a strong soul of great potential like this modern horse that is on two legs fighting, celebrating, and moving freely.

This relates to real life with the horse because it always catches our attention with its mane, its way of walking, its elegance. This piece has that elegant part that can adorn a business, house, office, or company. Any entrance or bedroom. It teaches that the spirit of the horse is in us.

Due to its shape, the bronze holds the strength of the horse and must be very stylized.

My name is German Arzate, and I am part of the self-taught Mexican sculptors. I was born in Mexico City on April 18, 1967, as the oldest of a family of 4 siblings.

My only way to access art was through my mother, a lover of fine arts. At that time, there was no internet, and access to artworks was through books or encyclopedias.

That’s where my love for great Mexican sculptors of that time and recent times was born. Here I present some of those contemporary artists that I admire the most.

The Mexican sculptors Leonora Carrington, Agustín Parra, and Pedro Cervantes share characteristics that always take up the power of the past as an element, the self-taught medium or rejection of art academies.

An affinity and sensitivity to the mysticism of these Mexican sculptors help to revive the myth of the divine creator, but also represent human rebellion that challenges and creates idols of precious metals that rival with invisible divinities.

Leonora Carrington

It’s been 100 years since the birth of Leonora Carrington, who is one of the Mexican sculptors I admire the most. It is a pleasure and an honor for me to know her work.

Seeing her legacy is fascinating, and particularly, I feel that what is worthwhile about Leonora Carrington is her daring at a time when women faced several difficult issues. For a woman to express herself was very difficult, and being able to express oneself in any artistic, political, or economic field was very difficult.

She is one of the best Mexican sculptors who led us to a thought system in which you confront, see, imagine, and in some way, fly with her and her works.

The fusion of human hands with animal leggings, bells, and different artifacts captured in painting, sculpture, and many techniques still speak of fascinating things.

Leonora Carrington occupies a very special place among Mexican sculptors. It is sometimes funereal and dark, but I love how she can capture what she wanted to think and say, something artistic.

100 years have passed since her birth, and recently, a great artist passed away. But she has left a legacy that can be seen and that left a lot of work to admire in Mexico.

Personally, I do my work in the same place where she made her castings, and I love seeing how her works are captured there and how in Mexico, she is a great woman of art.

Agustín Parra

Among the Mexican sculptors who have developed their own personality the most, taking up elements from the art of other eras, is Agustín Parra, a well-known artist who has inclined towards integrating religious motifs into his work, which includes the revitalization of ancient techniques.

Parra creates works under commissions of colonial art by ecclesiastical organisms, and his figures achieve a special realism where the attention to detail of the human anatomy stands out, feet, veins, hands, etc., as a constant concern among this group of Mexican sculptors.

The pieces are made individually, and Parra uses all the original methods possible from centuries ranging from the XIV to the XVII.

In addition, the closeness and preference of the Catholic Church for his work have placed Parra among the select group of Mexican sculptors who have been able to carry out works for 3 different Popes.

Parra participated along with other artists and Mexican sculptors in the elaboration of 96 pieces during the papal visits of 1999 and 2002, as well as 34 for that of 2012. Recently, he provided the furniture for the reception of Pope Francis.

Pedro Cervantes

Pedro Cervantes, like Leonora Carrington and Agustín Parra, is one of the Mexican sculptors who have mostly experimented or have made works with the largest number of possible materials, giving his work technical and creative freedom that sets him apart.

Cervantes is part of the Mexican sculptors who confess to having a fascination with the animal side of things.

In addition, Cervantes has been one of the first Mexican sculptors to advocate for a proposal of “ecological” work, that is, pieces that harmonize with urban spaces, that avoid the visual pollution of urban landscapes.

Although he studied at the National School of Fine Arts, he left the academic halls to, like other Mexican sculptors, opt for experimenting with diverse materials.

Cervantes’ work expresses elements of sexuality, the infinite pleasure that joins with the infinite instability of erotic and amorous feeling.

Undoubtedly, Mexico offers a wide range of influences that take up elements of the great technical and thematic diversity offered by this country full of ideas and ghosts, which in this case are represented in all the mystical erotic motifs in the work of these Mexican sculptors.

I am a Mexican sculptor who offers a dual vision in works where I combine scenes loaded with eroticism and humanity with elements of the natural/animal world that place me as a Mexican artist of fantastic realism.

The duality of human existence is a constant in my bronze sculptures: pleasure-pain, happiness-sadness, man-woman, solitude-company, love and breakup, themes that accompany my career as a Mexican sculptor.

In my work, I want to work with a marked creative and imaginative freedom but with a little more clarity compared to the artistic ruptures of the mid-20th century.

My proposal is located in the fusion of opposites, in their contradictory union which, however, thanks to the aesthetics that allow me to express myself as a Mexican sculptor dedicated to the concept placed in each work where I manage to unite these opposites in a concise expression using bronze as an expressive material.

However, in my artistic exploration as a Mexican sculptor, I have explored the expressive possibilities of other materials such as clay, plasticine, wood, marble, metals, and acrylic.

A Mexican sculptor of the new generation?

Although I consider myself a Mexican sculptor of the new generation, I always retake the human element and the body in classical expressions of sculpture thanks to its attention to detail in the representation of a face, muscles, or a body in motion.

For me, the most important thing and what I try to fully reflect in my bronze sculptures is the possibility of observing, dreaming, working exhaustively according to my own ideas as a Mexican sculptor, which I try to make public in the interviews that have been conducted with me regarding the motives of my work.

Being an artist in Mexico offers me the possibility of great imaginaries where fantastic realism and the multiplicity of themes offered by the diversity of influences and cultures are a constant, and as a Mexican sculptor, I take advantage of the classic and original influences that in this legendary land have contributed Frida Kahlo, Remedios Varo, and other names known to world criticism.

My work explores with fascination the theme of eroticism and in the relationship – almost lost in contemporary art and recovered from my workshop as a Mexican sculptor – between human beings and their most animal side.

Rebellion in my style

My style bets on rebellion but also on integrating styles typical of cultural richness such as those expressed by Mesoamerican cultures, the shamanic quests that I try to show in my works and throughout my exploration as a Mexican sculptor.

I try to represent in the bronze sculptures the relationship between man and nature, I explore how human aspects intervene in it and with animals, plants, or even the stars.

In the sculpture “Rhinoceros,” I express the union between the aggressiveness of the African animal and the reality of the human being. The beast’s fury is only reflected once it has encountered an obstacle in its path and does not hesitate to use its weapon to make its way.

In this creature, the passivity it shows in its daily life is combined with the strength and fury it reflects once it faces its enemies.

For me, as a Mexican sculptor, my work expresses this duality in three aspects: a mystical one where I talk about more metaphysical dualities such as those of man and his gods, a romantic one where love is observed in its most extreme archetypes of pain-pleasure, and a natural one where the animal beings represented also suffer their own dualities, mainly those where they most resemble the human being.

The product of my work as a Mexican sculptor is in constant experimentation, I work with different materials and forms, I seek at all times to make my pieces objects full of poetry, originality, and meaning.

The meaning of my work

Poetry can transform everything and as a Mexican sculptor, I try to demonstrate it when talking about pain in works like “Mine” or “Pains” where I express the great grief of love and the passion that ends up exhausting or defeating lovers.

In them, I express all the pain that love can cause as an expression of pain.

In the first bronze sculpture, the union of the lover clinging to the body of the beloved is expressed, and in the other, I portray the woman’s body expressed in what seems to be a giant gum that treats with irony the pain caused by erotic desire.

Being a self-taught artist, he focuses his work on these proposals that unite opposites and create harmony between contrasts.

For example, in works like “Equs” or “Black Bull,” the animals are faced with their own natural pain caused by human situations such as bullfighting but vindicated in their expression of beauty and power against those pains, just as my work as a Mexican sculptor captures and immortalizes with attention to detail.

In other bronze works such as “King of the Sea,” I portray the mysticism of the deities comparing them with the tired man who sleeps awaiting the movements of the tides.

The aquatic world is an important part of the expression of my work as a Mexican sculptor, due to the proximity to the sea that I have thanks to being a neighbor of the coasts of the Riviera Maya.

When I see people looking at the works in an exhibition, I want them to touch them, to feel them, I wish they could feel the same sensation that I have when I make them.

I have had the opportunity to be recognized as a Mexican sculptor and representative of contemporary fantastic realism in some spaces such as the Agora Gallery in New York where I offered a diverse sample of my proposals in February and March of 2016.

Angela Di Bel, director of Agora Gallery in New York, said a few words that I appreciate: “I selected Arzate’s work because it speaks of themes that continue to fascinate in art: mysticism, love, pain, and nature.”

I am a Mexican sculptor who also lives a duality in my art and in my professional life in Cancun, Quintana Roo, where for years I have worked as a dentist. Being a dentist is like doing sculpture in a small scale.

Poseidón fue una de las primeras y más importantes esculturas de bronce que yo realicé. Desde siempre he sido un gran amante del mar y de toda la mitología alrededor. Y siempre he relacionado la fuerza que lleva el mar con la manifestación de esta fuerza en un dios tan imponente como impresionante como lo es Poseidón.

Para mí, Poseidón marcaba la fuerza, la tendencia y la autoridad en una escultura de bronce.

Realizar Poseidón fue un reto precioso, mi propósito era lograr la simbiosis entre hombre y naturaleza, pez y ser humano, agua y tierra. De ahí salió la idea y la fuente de esta escultura de bronce.

Más que tributo al dios, es al agua, a la fuerza, al humano y a los animales que habitan el agua.

De ahí que sea pez y humano al mismo tiempo, que sea una especie dual.

Durante el proceso de la creación de Poseidón, la conceptualización fue muy importante desde el inicio. Quería que la escultura en bronce, tuviera un báculo, y tuviera la fuerza de años recorridos, que represente en su posición una manera de decir: “aquí estoy, presente y alerta”.

La posición de alerta, la forma de girar el cuerpo para dirigirse al infinito con mirada intensa y retadora la hace una escultura en bronce fuerte para alguien con el poder y el reconocimiento. Alguien que tenga la guía como don y supiera el rumbo que quiere. Eso no es fácil de encontrar.

Es por eso que Poseidón lleva la fuerza del mar por dentro, es una escultura en bronce con épica porque conlleva ir hacia adelante y con fuerza.

Emociones como esas se transmiten para gente que domina su terreno y domina lo que hace.

Gente que es líder y dice para dónde.

Para mí, Poseidón puede ejemplificarse en tu día a día. Se ve en cómo llevas tu liderazgo y hacia dónde vas, tu rumbo. Si tuviéramos por lo menos el 1% de la fuerza del mar dentro de nosotros sería de una intensidad como la que esta escultura de bronce lleva implícita.

El tiempo de realización de esta escultura fue alrededor de un par de meses. Tardé más en darle ese giro, esa posición.

Está de alguna manera listo, viendo atento, alerta. Bien podría estar a lado de un faro, como una pieza majestuosa indicando el rumbo a todos los barcos o podría estar en la entrada de una mansión fuerza dominancia, de alguien presente.

La escultura en bronce de Poseidón tiene una serie de emociones que quise plasmar en un tamaño adecuado para poder estar a la entrada de cualquier lugar. No rebasa el metro y sería una poderosa pieza de entrada, de recepción; siempre a la cabeza marcando la tendencia y el rumbo. Realizar me ha llenado de mucho goce y es de mis esculturas de bronce favoritas.

German Arzate, escultor.

Fuerza, tendencia y autoridad en una escultura de bronce

Poseidón fue una de las primeras esculturas de bronce que realicé. Yo siempre he amado la mitología y soy gran amante del mar y su fuerza. Por eso me fascinó tanto la figura de un dios tan imponente.

Fuerza, tendencia y autoridad, eso representa Poseidón para mí y por eso visualizo esta escultura de bronce en alguna entrada o lugar principal de alguna mansión o residencia.

Para el artista, celebrar es poder encontrar o darle sentido a un sueño, una emoción un sentimiento, la aportación estética de un artista al mundo, el poder expresar plasmar, sentir y gozar cómo fluye una idea a través de tus sentidos, cómo a través de tus manos puedes plasmar una emoción en este caso en una escultura de bronce, es un sentimiento indescriptible.

El proceso de creación de esta pieza fue interesante desde la conceptualización: la posición de alerta y la forma de girar el cuerpo. Quería transmitir el don, la pasión y la fuerza en un sola escultura de bronce.

Está dirigida a gente que es líder, a los que marcan tendencia y dicen para dónde. Aquellos que miran por encima una ciudad.

Lograr esa simbiosis entre hombre y naturaleza, pez y ser humano, agua y tierra fue un reto precioso.

a dualidad

La dualidad siempre ha estado y nunca ha dejado de ser presente, la he visto en la forma de una nube, lo he visto en las plantas, en los árboles. He encontrado caras en las plantas, en las nubes he visto figuras, formas; las manchas en una pared para mi son rostros o esculturas de bronce.

Cuando era niño yo no quería ir a las jugueterías, quería ir a las tlapalerías y le pedía a mi madre que me comprara plastilina para tuberías en lugar de juguetes o dulces.

Lo importante en ese momento y ahora: la celebración del arte.

Recuerda que antes las piezas y esculturas de bronce no venían firmadas. Firmar el arte es muy reciente pero hoy por hoy que un artista celebre por medio de la creación es lo interesante. No la fama o la fortuna, el creador no debe perder el piso y siempre controla el éxito.

Un artista debe saber que así las piezas estén en las salas o entre las más grandes piezas de esculturas de bronce en Louvre, lo mejor debe provenir del proceso creativo, de la misma celebración.

En Poseidón y en la mayoría de mi trabajo aplico estos principios. En esta escultura de bronce la posición de alerta y la forma de girar el cuerpo para dirigirse al infinito con mirada intensa y retadora la hacen una obra fuerte para alguien con el poder y el reconocimiento, la guía, el don y el rumbo. Y eso no es fácil de encontrar.

De ahí que Poseidón lleva la fuerza del mar por dentro, es una pieza épica porque conlleva ir hacia adelante y con fuerza.

El mar en nuestro interior

Emociones como esas se transmiten para gente que domina su terreno y su campo, gente que es líder y dice para dónde.

Para mí, la emoción de Poseidón puede ejemplificarse en tu día a día, en cómo llevas tu liderazgo y hacia donde vas, tu rumbo.

Si tuviéramos por lo menos el 1% de la fuerza del mar dentro de nosotros tendríamos la intensidad como la que esta escultura de bronce lleva en sí misma.

En su elaboración me tarde un mayor tiempo en darle ese giro y esa posición que tiene. Está de alguna manera listo, viendo atento, alerta.

Bien podría estar a lado de un faro como una pieza majestuosa indicando el rumbo a todos los barcos o podría estar en la entrada de una mansión, también podría representar una tendencia de un grupo o rumbo de una ciudad, de una ideología.

Poseidón está en un tamaño adecuado para usarla como escultura de bronce en una recepción, pero siempre a la cabeza, marcando la tendencia y rumbo.
La elaboración de esta escultura de bronce me ha llenado de mucho gozo y es de mis piezas preferidas.

Month: May 2017

The duality in ancient cultures – Germán Arzate Garza