Marmi Vrech: the art of stone sculpture in 2017

We are in the third millennium, but the emotion and magnetism that human hands transfer to natural stone sculpture have remained intact and intense. Stone statues, busts, friezes could be defined as decorative or design elements, but for us, they are vibrant, vital entities that fit space and catalyze it with immense evocative power.

 

The Craftshop and the Maestro: in the art of stone sculpture, nothing has changed.

More than six hundred years have passed since Michelangelo carved David’s statue, one of the most famous marble statues in art history. At that time, the workshop apprentices dangled the stone block that was then worked and finished by the Maestro. In our company today, technology has replaced the apprentices but the birth of the true exquisite work remains the sole privilege of the Maestro.

 

Choose, invent, design a natural stone artifact

Statua in marmo
If the subject chosen is a classic Marble sculpture, before the carving starts, a thorough study on the artistic and aesthetic canons of the period is performed to support the execution with a solid conceptual basis.
To create a natural stone sculpture or artifact, first choose the subject together with the buyer, the architect or the designer: this may vary from an existing, classic or modern work to that designed ex novo.

Then there is the study of the material to be used that usually is performed on light marbles such as Carrara, Calacatta or Bianca Lasa or on indigenous stones such as the Stone of Istria.

Once the subject and the material are decided upon, we proceed with the selection of a three-dimensional model of natural stone sculpture (sent by the customer, purchased on specially designed or internally designed web sites) and the proportionality of the sculpture according to the chosen measures.

 

The first steps to free the sculpture from the stone

“I saw the angel in the marble and carved until I set him free.”
Michelangelo

Statua marmo
Disks with different grits and round bits of various diameters are the first contact with the stone block.
Once the ideal stone and marble block is chosen, the first roughing is carried out by a machine driven by a CAD CAM software that also puts the various tools to be used, from disks of different sizes to the round bits of various diameters.

With the help of diamond cutters, the surplus of material left by the burring cutter is then removed and the figure appears with the use of the Wibia tip.

If the subject of marble or natural stone sculpture requires it, before proceeding, we make a copy of aerated concrete or alveolar cement to have a better view of the volumes and the dark light game.

 

The dialogue between the stone and the figure, between the soul and the Maestro.

At this point there is a block of stone, with the blank figure.

Today, the Maestro tempers the tools the same way it was done in the past: he places them on fire until they become glowing and then beat them with the hammer on the anvil. After a second round on the fire, the tools will then cool, in water or in oil.
In front of it, there is the Maestro with his instruments that are the same as always: the bang, the chisel, the tips that he tempered himself with the fire before he begins.

There are also cutters, tools borrowed from the dentistry world to finish the more precise details and abrasive papers with different grits: which are manual instruments.

His hands listen to the studies that were made on the artifacts and materials before embarking on the project of stone sculpture and are guided by experience and determination. They work slowly but uninterruptedly, entering into every small crevice, treating the linearity of the figure, the dark light, the perfection in the surface. They will not stop for a long time, returning to the same particular, retouching, lurking, observing. Only with endless patience and passion a marble sculpture comes to life.

 

Michelangelo used the ‘trapano accordo a violino’ to carve the David’s marble sculpture, especially its curls. None of the other tools could have given it the increbile strenght and depth.

 

The Buyer and the Maestro: the idea takes shape, slowly

Statua Marmo
The abrasive papers with different grits, used with water, allow precise finishes and give the surface of the stone statues a velvety feel.
Throughout the process of finishing the marble or stone statues, the Maestro is always in touch with the customer so that the figure takes shape following exactly the idea that originated it.

Light darkness, details, stone sanding … the exchange of information is a continuous flow, a search for sensation and balance to let creativity mold the matter and free what man dreamed of.

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