Ingresso nel labirinto, 1995. Bronze and fiberglass, 4 x 4 x 3.5 meters.

Arnaldo Pomodoro: Within/Without

For more than half a century, Arnaldo Pomodoro has been making prescient, penetrating observations about modern life with his sculptures, expressing the inherent intimations, tensions, and tenuous, fleeting joys of the postwar era in Italy and giving form to global post-apocalyptic concerns. Instantly distinctive, provocative, and profoundly resonant, the ongoing series of works that he launched in the mid-’50s with such tightly compressed, diminutive reliefs as La luna, il sole, la torre and Il giardino nero evolved into a series of iconic formal statements, based on geometric solids, and the latest monumental bronzes, among them the gravity-defying, shimmering Centenarium and the Porte della luna e del sole, with its shattering blend of deft elegance and raw barbarism. That precarious balance of polar opposites, that sublime tension between form and manifold implications, sets Pomodoro’s works apart. The arc from his initial, but already fully articulated, jewel-like sculptural forays to the large-scale public works that by the early ’60s established him as a major new voice in the international art world was meteoric, and unfaltering.