Arnaldo Pomodoro

Galerie Stutz, Zurigo
Collezione Don Inocente Palacios, Venezuela (acquistato a Zurigo nel 1977)
Collezione Jorge Jabaile, Venezuela
Ivi acquistato dall'attuale proprietario nel 1999

Flaminio Gualdoni, Arnaldo Pomodoro. Catalogo ragionato della scultura, vol. II, Milano 2007, p. 591, n. 590, illustrato

This work appears in good overall condition. There are some superficial scattered scratches on the Sfera surface, especially by the upper and lower areas and in some small areas around the borders of the jagged edges of the sculpture. There are some traces of plastic bubble wrap utilized in the past on the reverse of the sculpture toward the upper and lower areas.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

Le sfere sono prima di tutto forme perfette, magiche: io le spacco per cercare i loro stati di fermentazione interna, misteriosi e vivi, mostruosi e puri.  Ho creato un contrasto fra le parti lisce e lucidate, una tensione discorde, una completezza fatta di cose che sono incomplete. Questo atto è un modo per liberare me stesso da una forma assoluta. Distruggerla. Ma anche moltiplicarla. La scultura per me è un processo di scavo e rilievo, senza definire uno spazio e senza stabilire un centro.

The spheres, are first of all perfect, magical forms and I break them apart to search out their states of internal fermentation, mysterious and alive, monstrous and pure; I set up a contrast to their smooth and polished parts, a discordant tension, a completeness made out of things that are incomplete. This very same act is a way of freeing myself from an absolute form. I destroy it. But also multiply it. Sculpture for me is a process of excavation and relief, without defining a space, and without establishing a centre.

Arnaldo Pomodoro in Giovanni Carandente, Arnaldo Pomodoro, The Hakone Open air Museum, Japan 1994, p. 24