Replies: 12 Comments
on Saturday, July 29th, Dennis H. Jackson said
I had the fortune of seeing the Nall exhibit in Assisi of June 23,2006. I had never even heard of the artist, let alone seen any of his work. Nor was I sure of the spelling/pronunciation of the signature. But after several inquiries in halting "Italenglish" I was able to Learn who the artist was. I was personally struck with the image of Martain Luther King Jr. - so much so that I posed my 8year old son in front of it and made several images. I also made images of several others including the "Picture Frame".
Upon my return home I began searching out works by the artist as well as information about him.
It's a journey & I am thoroughly enjoying it. If anyone has any recommendations or other data, please let me share.
on Tuesday, July 4th, Nall said
"Violata Pax"
Pietrasant & Assisi, Italy
Menton France
Monaco
Mobile, Alabama , USA
I would like to thank Father Vincenzo Coli , custodian of the Franciscan Monastery in Assisi, for commissioning this exhibition, and Prince Albert II of Monaco for taking under his high patronage all five of the events. Together, they are most concerned about peace in our world that is living a state of Violata Pax.
This project, called by Father Coli the "Stations of the Cross of Humanity", or Violata Pax confronts us with many of the vanities that riddle the human arena. It has taken more than 35 years of preparation, as is a retrospective in the sense that some of the older works are included reformatted (computer generated from original works), in the 52 Icons, and silkscreened onto Forex Plastic arches. Each original work I remember the moment as if it were yesterday, with the people and places coming vividly to mind, and the state of harmony or disharmony that I experienced at the time. I work from the model, so all portraits were intimate friends involved with my personal life. 2 of each of the forex originals, in four sizes,have been produced, all of which are exhibited in one or more of eh exhibits. The two books " Alchemy" by Menton Curator of Art Hugues de la Touche, a retrospective, and "Violata Pax" by Italian ex minister of culture Vittorio Sgarbi. regia Alberto Bartalini. A large percentage of the benefits of teh sale of works included in Violat Pax will go to the Franciscan Monastery for the renovations of the works of Chimabue and Giotto in the Basilica in Assisi.
These were some of my first attempts at sculpture. Making the frame, which is 5 meters high, in an edition of 8, and 5 tons heavy, realized in bronze with 3 mosaics on each of the 2 sides plus the front of the steps, was a monumental undertaking, including many trips to the foundry and modeling studio in Pietrasanta, then to finalize the patinas for both the Frame and the Dove, or "Violata Pax". Climbing the scaffolding to sculpt the dove and punching in whole fist-fulls of clay, then smoothing it down and adding gestural movements giving the correct form of my own style was a great experience. Once into it ,it went quickly, more so than drawing. Years of drawing skulls feathers, leather, and bones made the task easier, because of the memory of textures. Sculpting the smaller version of the dove was more intimate, but as exacting, and I felt that I was caressing one of my pets when making it. The smaller model is about 35 cm high, in 4 editions of 8.
The Franciscan cross that will eventually be installed in the Cathedral in Monaco evolved from more than 20 sketches and 3 maquettes, or preliminary models, of which I took ideas and details of each and combined the better parts to enlarge into the final version . I still have to produce a smaller replica of the large one for the Archbishop of Monaco for Liturgical Mass. I have designed vetements for the Archbishop of Monaco, inspired by the ancient tunic found in Saint Francis' tomb when they opened and moved it in 1818, placed now in the Museum in Assisi. It exemplifies the vow of poverty of St. Francis with its humble fabric and its patchwork repairings.
The paintings in the Church of St Augustino in Pietrasanta are mostly recent ones, of flowers, representing the "Dust to Dust" theme. I have created shrines with some of my personal Vence studio collections, and have reproduced my working mosaic studio in the Sala .... small gallery located to the right of the Church. The chairs, cutouts and carpets give an added impact to the exhibit.
The Puccini Foundation , in Torre del Lago Puccini, , the City of Pietrasanta, La Versiliese and Mariani Bronze Foundries, the modeling studios of Jean Carlo Buratti and ........, were all very concerned and complied with exacting my ideas into makingthe sculptures and this exhibition so successful, along with Bartalini's team and my young studio apprentices from the USA.
I hope that you will be able to visit one or all of these exibits, as the installations are very moving. A pilgrimage beginning in Assisi on July 20 , and ending in Vence at My studio in Vence will officially inaugurate the Violata Pax initiative.
All best, in love and peace.
Nall
The Barbara Paci Galeria in Pietrasanta is handling sales of the works.
on Monday, July 3rd, Andrew said
David, Mark, Hyacinthe and Gennaro,
I think you got the point I was trying to make, and I'm sure that if you see one of Nall's shows going up anywhere you're near, you'll be sure to go. I am of the opinion that the US will see some of these in the near future. Gennaro, there are going to be several right here in Italy this summer. I don't know if you were at the opening, but if you weren't and can get to one elsewhere, go. It will be a memorable experience.
on Monday, July 3rd, Hyacinthe Baron said
Andrew I did look up the site and found the answers I was seeking and discovered everything to be extremely inspiring. Since I am a firm believer in synchronicity I must say that your meeting with the artist and your description of the event came at the right moment. I was very excited by your introduction to this artist because I have begun a body of work which incorporates much symbolism and projection of physical sculptural structures and use of space and so relate to art works that go beyond the ordinary. In this case reaching out to specific physical locations by way of introducing an amazing aesthetic to individuals.
The energy emanating from the artist is astounding and refreshing. Thanks for taking the time to share your experience.
on Monday, July 3rd, Mark R Brockman said
I think events such as described, don't happen here in America not because of lack of wanting or cooperation between artists, but because in the USA art has taken second place, no, maybe third or fourth place to other types of events. Sports, movies, videos and video games (computers) take up our waking moments.
Here in the USA people are afraid of art because of attitudes that took place in the 40s, 50s and 60s by critics and artists themselves. That art is something only a few can really understand. I think in Europe (I have releatives in Germany) art is still looked at as something to do. Go look and see the work, whether you understand it or not. I live not far from Washington DC, I go to the museums on occasion, the Air and Space, the Natural History museums are always full, go to any of the art museums and unless there is some very famous artist's work in a special show, they are for the most part deserted. which makes it nice for contemplation but not for the arts.
To have something such as the "Nall" show in the little town of Gettysburg, where I live minutes from, could happen. But it would probably either be ignored, because of fear of understanding, or rejected for the same reason.
My point is there is little apreciation for the "fine arts" here in the USA, not because we are stupid or uncaring but because we are afraid. Plus there are other ways of filling in our leasure time that are so much more fun that going to look at stuffy art.
Can we as artists who are realitivly unknown make the general public no longer fear art? I don't know. The famous artists don't seem to try, and they are in a good position to do so, but then that would increase competition. What about the critics? They might lose thier jobs.
It is a mystery to me.
on Sunday, July 2nd, misiu_317@hotmail.com">Gennaro said
I saw show in Pietrasanta... Ho visto la mostra a Pietrasanta e evidente che l' artista ha voluto trasmettere un doppio messaggio, uno inquietante, comprensibile solo da un adulto l' altro invece divertente per un bambino.
on Saturday, July 1st, David Jay Spyker said
Recent events in my own life have reminded me of the importance of community between artists. It is all too easy to become insular, isolated when living as an artist. Our work requires hours of solitary action, observation, and thought, but without creative interaction - between artists, and also between artists and the world at large - there is indeed a certain void in our lives.
Nall sets a fine example by which we may all draw inspiration, and through which we might each learn to broaden vital community connections.
on Saturday, July 1st, andrew said
Hyacinthe, none of the people in this mostly Catholic Italian town was disturbed by the images, or considered them to be defacing the church they became a part of. These are computer printed enlarged images of previously painted and drawn work. The message, as I interpret it, is not anti-christian. Most of the images refer to the contemporary presence of good and evil in the world, and as such, go along well with similar images long presented in Christian iconography. I have printed matter, yes, but most of what I have is also available on the website www.nall.org which goes much deeper than I have into both descriptions of the work, places where it can be seen, etc.
Jose, to be in a place where something special is happening at the moment you're there, is indeed a treat. Beyond that, it's also a lesson, from which we can produce our own events, having a model to refer to decide how we want to go forward? Liked something, and didn't like something else? Then you can delve deeper into what you felt drawn to, use it to create a base for a different type of exploration, and eliminate the part you have trouble with. In the end, what you and a few collaborators come up with will be very different for a variety of reasons. It would pay to contact the Nall organization, or perhaps visit Vence, and I guarantee you're going to come away with far more than you had before you went in. These opportunities are rare. And, as free as Nall himself seems to be with his time for others, this man's doing so much it's hard to imagine he'll be as accessible as he was for me. A lucky coincidence.
on Saturday, July 1st, josé said
I wish I could have been there Andrew, that sounds like the kind of event and artist that could fuel me up for the next six months! The way you describe your encounter with him just adds even more positively to the power those images and installations must have had on people there. The question you raise is an interesting one and it will be food for thought while I’m away this summer: why do these things not happen more often in the States? I have a hint of a clue but I haven’t been in The US for so very long now that I wouldn’t even dream of searching deeper – best leave it to those contributing to these blogs from America.
I guess we can consider ourselves fortunate to be in a place heavy with culture and a renewed appetite to see some of those old structures come to life again in new ways. There’s little money but, as you say, collaboration is the key. It’s up to us to use it.
Thanks for that link Matt.
on Friday, June 30th, Matt Beall said
Whoops-- the address was left out.
Take a look: nall.org
on Friday, June 30th, Matt Beall said
Who is Nall? I never heard of this artist until I read Andrew's blog.
Take a look: on Friday, June 30th, Hyacinthe Baron said
Andrew thanks for sharing this event.I am still trying to absorb exactly what has taken place. for instance the images of women: Computer images or paintings? Can't quite make them out because there is no way to enlarge them to see more clearly.
I am going to look up the artist hopefully to discover more about him.
Was anyone disturbed that he had defaced the church and the town? The message seems to be anti-christian so why is the town and the church involved?
Did you get any printed matter?
Fascinating. Thanks again
‘Nall’ is the pen name used by an artist from Troy, Alabama, who I’d never heard of until this past weekend. Neither had anyone else here in Pietrasanta, in this quaint little center of artistic production concentrating primarily on sculpture. The first thing we all saw was a poster, saying that the president of Italy and the Prince of Monaco were sponsoring Violata Pax, a show to open less than three days from the date it was put up. And it was put up everywhere. 
Inside the cathedral, more blown up images of hand sketched designs filled niches, and pillows with other, different, computer printouts on them adorned chairs, some stuffed to resemble dolls, others just left as pillows. The mimes, still as statues, were intermingled with the sculptures and furnishings. In a doorway I found Nall, the artist, strangely alone, unlike those absorbed by the pretentious crowds around the central figures of every other exhibit I’d ever been to anywhere. I walked up to him, and introduced myself, and was struck by the immediate feeling I got, even as others were approaching him, some famous, and some not, that he wasn’t anxious to finish his conversation with me so he could talk to someone more important. He asked me for my card. He’d left it up to me when to finish, and not wanting to take too much of his time, I excused myself and told him I’d e-mail him.
Outside, I turned a corner and found a bar set up, where it was easy to get a drink and listen to extraordinary harp and flute music. The windows of both buildings on either side of this minor square were full of more of his images. The musicians were local, not imported from Vence, where he purchased the atelier of Jean Dubuffet. Nearby, I found out he has built ateliers for visiting artists, and maintains a small cultural island that many can retreat to, to write music or poetry, to paint, or to sculpt. All this takes money, immense amounts of it; the sponsorship of the Principality of Monaco never goes to nobodies because that tiny nation built on a business plan, ever on the edge of bankruptcy, always seeks to link itself to the very rich. Thus was the case with Barbara Piacek Johnson establishing a museum there; as a poor working girl from Torun, Poland, no one in Monaco would have given her the time of day. Becoming an heiress, and a world class one at that, made the difference.
Having money and using it to create both happenings like this event, and a retreat for other artists close to what is now his home, makes Nall special. Artists can create a multifaceted event without money, it just takes collaboration. We are on the verge of that with Absolutearts, but we still have a long way to go. Jose has indicated one possibility, Hyacinthe another, but I haven’t heard much from anyone else about how to set up a place where events like this one can happen. We don’t have room for them in our American way of looking at things. Where I have seen them happen, is on remote islands in Greece, in Croatia, in Poland, and almost always a long way from where the money is. These are treasures that are not available to the retired who try to find them at the ends of their lives in Santa Fe. We have to ask ourselves, ‘why not?’
Nall’s work is special, multifaceted and complex. He puts a lot into it, and the result makes a person like myself go back and take a second look. He participates in the arts in Alabama, and creates opportunities for other artists. This is what we all have to do, and perhaps in doing so will find that our own art and our life as artists prospers as a result.
