Artist Alberto Nuño presents its book of big format “Sculptures Loudmouths”, with 80 of its sculptures in bronze.
An artistic and contemporary reinterpretation about the cry as vehement manifestation of feelings of humanity is that artist Alberto Nuño has been working for several years, which has resulted in more than a hundred sculptures of bronze and resin.
Of this work, Nuno select 80 sculptures that make up the book of great format just published entitled sculptures screaming.
Artist tolimense realized that one of the main sources of inspiration for this new series found in an investigation of nearly 15 years on the «screaming», the work of artisans of indigenous cultures capuli and piartal, Nariño.
«There are several versions. Some say that it was a cry to ask for rain, other that the craftsman was the spokesman of the shaman when toward its rituals, and that the figures were a metaphor to remove the bad energies». Explains the artist, linking their dialog with other similar cases in the cultures Tairona population and Chihuahua (Mexico) and with examples of the history of art as the famous painting the scream of Munch.
But this proposal of Nuno part of historical traditions to make a reading contemporary artistic. «Don’t want it to be only the cry of the indigenous, but a howler to incorporate everything that we are living and feeling», explains the artist, whose works in bronze are worked with the technique of lost wax.
This is the case of the parts man tied and silence, which show the torso of a man still for some strings and the other with his mouth full of nails, which symbolize to some extent, the pain of conflict.
«I combined the word scream and at the end i say they no longer shout, because dark forces the callan». That is why I found it interesting brainwash the mouth of nails. The other is the tortured man, the kidnapped man,» notes Nuno, which is adventure to launch a strong words: «That’s why I hope that this cry is so strong, although I don’t like minding my own business in politics, which come to Cuba.
In other parts is present the criticism of the bourgeoisie, through the figure of the Infanta Margarita; the ill animal and the tribute to the women in its various facets (maternal, model, and prostitute) and to teachers who have influenced as Piero della Francesca.
