A Detour

Before I continue to describe my Etruscan Project, I have to go back a few years in time to one of the first art courses taken here in Florence. My young son was in school at that point so suddenly I found I had some free time. I decided to look for a course in art as I had always done throughout my school days at home.  This was a logical sequel to my constant search for art lessons, especially since I was now in beautiful Florence, Italy, the cradle of Renaissance art, where my search had become even more serious.

I don't remember, (maybe through the Yellow Pages) by chance I found the Martenot Art Center, Academy of Fine Arts. This school, elaborated by Ginette Martenot, born in Paris in the 30's, uses a method which is a specific approach to the teaching of art  aimed to develop creativity from early childhood and to awaken the artistic capacity in adults. From Paris it spread throughout Europe. What I found was an affiliate of the atelier in Paris.

Of course I knew nothing about the method.  It's basic concept, teaching drawing, painting and sculpture, is that everyone has artistic ability, but, most of the time it is hidden and remains latent inside us. I had no idea that this center, the contact with this method, and my encounter with "maestra Signorina Poggi" would prove to be a landmark in my artistic formation. And . . . .  more than anything,  I learned that nothing happens to us just "by chance".

The why of this detour?

It was during these classes that I had my first experience with sculpture and the use of modeling wax with wire mesh (screening, light fencing). I still have the recipe for making the wax: pure bee's wax, oil,"colofonia" or rosin, a yellow translucent resin made from the sap of pine trees. These are melted to mix and cooled until pliable.

examples of wax figures

These were final exercises concluding a detailed study of each the horse, the dog and the face.
We observed and drew their structural anatomy and their expressions.
(The dog was ours, a gift to my son when he was five.
She was docile, but, in the end got tired of "posing" for me!).

masks.
Here, wire mesh was manipulated, pulled, stretched and perforated by hand until the mask was created. Then, softened wax was pushed into the wire metal at points that would highlight the facial expression but also "fix" the form.

Now back to the Etruscan project. Using this procedure, wax and wire mesh forms, I wanted to create an installation that would be positioned in the dining room of Hotel Fontermosa.

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"Drawing, or rather the placing of a mark that has a significance, is a primordial need of man. It derives from the necessity to leave a trace of one's

own existence." ...Martenot

www.fontermosa.it