Elegantly sculpted busts of Massimiliano Pelletti interpret art history through imperfection

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#art history #busts #marble #Massimiliano Pelletti #sculpture #stone

September 28, 2022

Grace Ebert

Detail of “Venus de Medici” (2020), pink onyx, 67 x 34 x 45 centimeters. Photo by Nicola Gnesi, courtesy of Massimiliano Pelletti

Italian artist Massimiliano Pelletti (formerly) is drawn to imperfection, and his practice revolves around transforming supposed defects such as impurities, cracks or chips into elegantly carved figures. Pink marble cut to reveal the stone’s cushion-like, crystalline interior intersects the artist’s interpretation of Venus de Medici, while in ‘Blue Venus’ marbled sodalite and Mexican white onyx are spliced ​​together to form a fully formed bust. By contrasting smooth segments with the rough texture of unpolished stone, Pelletti evokes art history and ancient sculpting traditions through the lens of flaws and fallibility.

This focus on the material defines much of the artist’s work – his studio is conveniently located in Pietrasanta near caves filled with the gemstones he uses – in addition to the way green onyx or black marble, for example, interact with light. Understanding absorption, reflection and illumination has founded his practice and is a skill he has developed over decades. He explains:

When I was a child, I went down to my grandfather’s studio, and I could see him working marble, always next to the same window; from there, for certain hours, a magical light came in that could almost make the statue come alive, with a soul. When I pointed it out to him, he replied, “My love, the light is so important. There are some works that must be sold with the window illuminating them.”

Pelletti is currently working on a solo exhibition scheduled for May 2023 in London, alongside a series of sculptures to be exhibited in a public square in Italy. Until then, follow his practice on Instagram.

Elegantly sculpted busts of Massimiliano Pelletti interpret art history through imperfection

“Blue Horizon” (2022), sodalite and Mexican white onyx, 64 x 33 x 40 centimeters, 16 centimeters iron base. Photo by Nicola Gnesi, Courtesy of Massimiliano Pelletti and Bowman Sculpture, London

Elegantly sculpted busts of Massimiliano Pelletti interpret art history through imperfection

“White Venus” (2022), Mexican white onyx, 173 x 31 x 43 centimeters. Photo by Nicola Gnesi, courtesy of Massimiliano Pelletti and Galerie Bayart, Paris

Elegantly sculpted busts of Massimiliano Pelletti interpret art history through imperfection

“Green Hermes” (2022), green onyx, 177 x 26 x 26 centimeters. Photo by Nicola Gnesi, courtesy of Massimiliano Pelletti

Elegantly sculpted busts of Massimiliano Pelletti interpret art history through imperfection

“Le due Grazie” (2019), Mexican white onyx, 65 x 65 x 48 centimeters. Photo by Nicola Gnesi, courtesy of Massimiliano Pelletti

Elegantly sculpted busts of Massimiliano Pelletti interpret art history through imperfection

“Venus de Medici” (2020), pink onyx, 67 x 34 x 45 centimeters. Photo by Nicola Gnesi, courtesy of Massimiliano Pelletti

Elegantly sculpted busts of Massimiliano Pelletti interpret art history through imperfection

Detail from “Blue Horizon” (2022), sodalite and Mexican white onyx, 64 x 33 x 40 centimeters, 16 centimeters iron base. Photo by Nicola Gnesi, Courtesy of Massimiliano Pelletti and Bowman Sculpture, London

Elegantly sculpted busts of Massimiliano Pelletti interpret art history through imperfection

“White Venus” (2022), Mexican white onyx, 173 x 31 x 43 centimeters. Photo by Nicola Gnesi, courtesy of Massimiliano Pelletti and Galerie Bayart, Paris

#art history #busts #marble #Massimiliano Pelletti #sculpture #stone

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