SEX

" La Pisana, La Lupa and Donna al Sole, represent an ideal "erotic and vitalistic triptych" of Martini's work. While in the other two works a deep and sweet sleep seems to be represented as after love, in our opinion, in the Lupa celebrated the terrible encounter between Eros and Thanatos, in which sensuality melts in a piercing cry. "

Traveling between the lines and playing with curiosities, we also discovered some background on the fate of this work that Martini considered one of his favorites, so much so that he kept the bronze copy in his home until March 1947. Past the preconceptions of the period post-fascist on the art of those times, which had left works such as "the wounded Lupa" in the shadows, only from the exhibitions of the 80s did it regain its due merit and today it is considered one of the most representative and represented Martini pieces in the world .

"Perhaps his most dramatic work or rather one in which tension is so naturally expressed."

All these aspects have fascinated us, leading us to work at the extremes of that search for the simplification of forms typical of Martini and which, combined with the purity of the line, has always described our work.

We have thus embarked on the path of research on the lines of force of the work, completely omitting the iconographic references that the author himself has always rejected.

"Martini models La Lupa so that the body remains raised thanks to the thrust exerted on the arms and knees, conquering "that unusual pose, which interests him for its naturalness and primordiality". "The natural forms of man - explains Martini - are the shapes of the child walking on all fours"

Our SEX eliminates the pain (the arrow and the grimace) of the wounded she-wolf, ideally transporting her to a primordial time, in which the body enjoys the physical act, elevating the spirit between impalpable feeling and animal gesture, orgiastically between heaven and earth. An adolescence of the act in which love is a moment full of pleasure for its own sake, without superstructures of any kind. The photograph of the moment is the one immediately after the apex of the senses in which the animal pose relaxes by letting the head fall into the arms, the breath returns to its increasingly regular rhythm but the thought is still confused and dreamy.

In our vision, the she-wolf therefore becomes a wedge, a large clast, natural and ancient like the space in which she lives, which plants herself in the earth with her limbs, in the violent desire to break the rule, reaching towards the sky with her shoulders and the hips, which welcome the rainwater in the arch of the back in a motion almost of spiritual fecundation.

A sexual vortex, expressed through the concatenation of lines and rigid planes with the same number of curves, in which the spectator can investigate, making a leap into his own feelings by spying in a more animal and ludic-voyeuristic way, or digging into the purest emotions, respectively through two cracks on the back and on the front of the work.