Marta Moreu - Trois nymphes
Trois nymphes
Bronze sur base métal, œuvre originale, tirage limité à 8 exemplaires, numérotée, signée et datée, cachet du fondeur

50x50x20 cm
Année 2000


Marta Moreu

A Customer Reflects On Marta Moreu

“ When I met Marta in 1985, I was impressed by her strength, although she looked like a small and thin woman. I met her through Jose, her husband, who is a very impressive big tall guy. When they are together, don’t ask me who is the boss!!

I loved Marta’s art at once. I first saw her sculpture of a strong and beautiful woman, which was positioned on the lawn of her mother’s modern house in Palamos, under a big green tree and just in front of the sea (white on green against dark blue). A few years later in 1993 when she was living in Paris, Marta was working on African faces and bodies. I loved the, but didn’t understand what was special about Marta’s relationship with Africa.

When she came back to Paris in 1999, I felt she had found her ‘truth’. I tried to buy some piece from her, but it was never possible as she always wanted to keep her works for galleries in New York, Barcelona , Brussels . . . I had to wait until her first exhibition n in Paris to buy ‘Viaje’ which is now on show in my flat in Paris. Every day I looked at it when I came home. It made me dream of travelling and of a special relationship with another person.

Everybody who visits my home comments on the sculpture. Engineers in particular are perplexed by it! How is it supported? How did she do it? What dœs it mean? What is the relationship between the man and the woman? Are they together or is one of them leading the other? Everyone loves it and asks questions about it.

I am happy to know Marta, and that I can enjoy her art which makes me reflect and dream every day I am home … I hope we can do more together. She is certainly a wonderful sculptor.

Marta Moreu’s intentions

Right from the ouset, Marta Moreu’s sculpture has centred on an emblemic reality, a reality which rests on a genuine autobiographic discourse which leads us through a universe of memories, along a route of sensations experienced and a path of feelings, replete with strong nostalgia, remembrance and melancholy.

Her education at the Fine Arts in Barcelona and thorough apprenticeship in various cities have led her to focus on the human body, which has become a constant point of reference. The expressionist forcefulness of form, the structural tension and distortion of naked bodies in unlikely postures – at times forced to the limits of their possibilities – forms a sculpture which flees from the traditional foundations of representation of figure only to use it as a pretext for analysis of the very condition of human beings.

Her sculptural pieces, like little stages with characters alone, in couples or in groups, seem to represent her own existencial condition. The human figure is kept in situations of unstable equilibrium within spatial co-ordinates which intensify the position of the individual according to his /her enigmatic destiny. A hero struggling between abjection and happiness, truth and irony, reality and dream, happiness and bitterness…. In short, an individual struggling between life and death and ever on the move. This dialogue of polarities also shows itself in the structural sphere, for it dœs exist in the formal configuration, as dœs an antagonist interplay, for example between the horizontal and the vertical, between fullness and emptiness or floating and contact, to provde the tension inherent to true harmony.

Movement, activity and action are inherent to Marta Moreu’s sculpture. The various themes she develops (balancing, dance, transport, mythology, etc…) point up this concept of dynamism an of mobility so characteristic of her work. For that reason, the characters in her scenes seem to fly, tohold themselves up in the air in a quasi-immaterial suspension. Whence it comes that, if sculpture has traditionallybeen an artistic practice based on the weight of memory, structural density and volumetric gravity, her sculpture – despites its use of bronze – flees from those parameters to offer the very greatest lightness, levity, agility and brevity, while at the same time insisting with the energy and speed inherent to our times.

The finish of the patina of different chromatic hues (reddish, ochre, greenish, etc) lends a certain picturial volume, while their harsh and brusque appearance emphasisies the power, warmth and texturing of the material in order to induce an initial – intention immediacy.

This world of Marta Moreu’s is one of internal resonances which submerge us in the problems of existence and in the psychological agitation of characters who take on reinforced symbolic value. For example, behind thea crobat in a position of instability or beyond the half-man, half-horse centaur, or even behind the groups travelling at full speed in a car, various readings can be concealed, according to the intention of the looks.
We might think back to Marcel Duchamp’s words, that the observer makes the words, that the observer makes the work. Very true ! For neither beauty nor ugliness are attributes of the things themselves, but exists only in the awareness of those observing them, and each awareness perceives a different beutyor ugliness. And this is why the spectator playsan active role in the work, completing it with his imagination.

Thus, the cognitive response when looking at one of Marta Moreu’s works will vary according to the cultural, intellectual and human perspective of the receiver. Looking at the circus number, for example, some will see in it only the tricky moves of the high-wire walker with his counterbalancing, while others will interpret it as man’s hazardous equilibrium toget through the various day-to-day situations, others still as a constant interplay between individuals and their environments and others may discover the internal instability of beings launched into a fate which leads them to stumble continually or the personal challenge to live holding back the weight of the social world.

All that and more. Marta Moreu offers us her work so we can train our eye and redefine the world.

Conxita Oliver

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