Mauro Corda & Gérard Alary 

9. Apr - 23. Apr 14 / ended Opera Gallery

Exhibition | Multi-disciplinary | London


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A joint exhibition of contemporary virtuoso sculptor Mauro CORDA & dark expressionist painter Gérard ALARY in London for the first time.

Born in France in 1960, Mauro Corda comes from a family of stonecutters with Italian origins. From an early age, he expressed interest in sculpture and he entered Reims’ École des Beaux-Arts aged 15, before pursuing his education at the prestigious École des Beaux-Arts in Paris. Later, Corda was sent to the Villa Velázquez in Madrid; a rewarding experience that led him to exhibit in Paris and gain international recognition through exhibitions in Hong Kong, Chicago, Venice and Bologna. Mauro Corda renders homage to the greatest sculptors of history with his technique - a technique to which he instils movement and modernity by questioning his life-size pieces about identity and the limits of the human body. His ease with matter allows him to use various materials, such as bronze, aluminium, iron, marble and stainless steel. Corda’s sculptures push boundaries and overthrow our certainties as they question the fragility of existence. Claiming that a piece that has no soul will have no shape, Corda’s sculpture is a poetical expression creating an invisible world and giving shape to mystery. A true virtuoso, Corda inspires great humanity within his sculptures in order to convey his emotions and fears through the cold material.

Gérard Alary is a painter born in 1945 in Avignon, France. A graduate from the École des Beaux-Arts in Paris, his first solo exhibition took place in Dijon and was a great success. In 1995, he put his career on hold to become a professor at Dijon’s École des Beaux-Arts and it is not until 2005 that he returned to painting for an exhibition at the Centre d’Art Contemporain of La Seyne-sur-Mer. Several exhibitions followed, always in strongly spiritual and symbolical sites, such as the Vieille Charité Museum in Marseilles in 2007. The noteworthy exhibitions approach personal themes thanks to which Alary renews contact with the joys of painting, depicting the human body and the individual in powerful expressionism that oscillates between “figuration and non-representation” as per the artist’s own words. Dark and thick matter emerges from Alary’s Vanitas, in which he depicts the bone rather than the flesh and death rather than life, highlighting the violence of the artist’s fears and distress. In the chaos telling us of the end of our human condition and the erasure of our lives since birth, we face a brutality that would drag one down to hell inside the deepest of the artist’s turmoil. Gérard Alary’s
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