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MATERIAL: Patinated bronze
HEIGHT: approx. 75 cm
Sculpture signed
Available numbers: 1/3AP and 2/3 Ap

The world of magic and myth is very powerful, which I experience over and over again. Among my sculptures, Miranda seems to be the most classical. This word as a name (miranda in Latin means “admirable”) was first used by Shakespeare in the fairy tale The Tempest. This drama, in many ways similar to The Magic Flute, inspired me. Much time later, with no little amazement, I read the following lines from Wysan Hugh Auden: “In The Tempest, Shakespeare finally manages to create a myth. […] Who holds the title to power in the community of the sinking ship? How is the magic of power maintained? […] In the face of death, also suffering, everyone is equal. The magic of power is possessed by those who show skill and courage in times of crisis. ” Or this, about Miranda and Ferdinand: “They are good children, free from temptation and experience. They think love will help bring Gonzalo’s Utopia right now where they stand. ”
My work shows a woman sitting in a chair wearing a men’s shirt. Miranda’s pure heart, her childish naivety and beauty in this story lead to agreement. Although Prospero (Miranda’s father) has supernatural powers – he is a powerful mage and has the obedient spirit of Ariel at his command – he does not let his passions escape. Keeps all moral rules. Miranda’s relationship with the son of the King of Naples is not consumed until marriage, and Prospero, after making a deal with his antagonist and brother, relinquishes his supernatural powers. Good triumphs over evil, purity over lust, law over deception, forgiveness over vengeance. It should also be mentioned that The Tempest is the only play in which Shakespeare has retained the classical unity of place, time and action.

My Miranda was also supposed to be such an emanation of classic beauty. Static, sitting, because she was passive; in a men’s shirt, because she had been brought up by her father on a desert island; white shirt, because she experienced culture somewhat indirectly and not fully, so her partial nakedness is not lecherous, but expresses innocence. In the moment of trial, she did not give up virtue even for the love of her life. Drapery also allowed me to formally play between verticals and slants, and the hardness of the fabric of the men’s shirt and the soft body. The only disturbing touch I allowed myself to do was the unnatural tension in my right hand betraying a hidden fear. I wanted to achieve the effect of a momentary modulation of the melody in a major key, considered joyful, to a disturbing minor key. This is Miranda’s adulthood fear.

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