Mirabilia Urbis Romae

CHRISTOPHER PELLEY / NEW WORKS
PALAZZO DELFINI, ROMA

Rome = tourists.  And long before Frommer's or the Guide Blue, there was the Mirabilia Urbis Romae - the Marvels of the City of Rome.  First penned in the 1140's, it  remained an immensely popular guide book well into the 15th century.  With a writing style "unhampered by any accurate knowledge of the historical continuity of the city", it  instead relied on myth, gossip and legend and a considerable amount of inventive fantasy in the description of the monuments of Rome.

I have taken the Mirabilia as a starting point for this exhibition and like some 18th century traveler on the Grand Tour, I have been exploring the monumental, the existential and the ordinary in this Place.  The large scale drawings, collages and installations of the exhibition express a piranesian sense of a past and a present that never was, assembled from fragments slightly out of context..  The post-modern tendency to be referential and ironic is balanced by my sense of observation and (subtle) humor.  And here, as in the Mirabilia Urbis Romea, the works are less of a descriptive cataloging of the marvels and more of an emotional response to this, the Eternal Jumble.

Christopher Pelley  installation view  MIRABILIA URBIS ROMAE

Christopher Pelley  installation view  MIRABILIA URBIS ROMAE

Christopher Pelley  installation view  MIRABILIA URBIS ROMAE

Christopher Pelley  installation view  MIRABILIA URBIS ROMAE

this exhibition was installed at Palazzo Delfini in Roma in April, 2012

Mater Christi

Upon entering the lobby of the parochial grade school that I attended, one was accosted by a large nondescript wall, the middle section of which was paneled with wood strips stained a dark brown in keeping with the taste of the mid sixties.  One spring morning at assembly we were told that a sculpture of the Virgin Mary, the namesake of our school, was being carve in Italy for that blank wall.  An italian sculpture being shipped to Burlington Vermont!  My fertile fifth grade mind went into overdrive.  Would it be like an early Michelangelo, sad and refined with maybe an arm or a foot left unfinished while the rest of the gleaming white carrara marble was polished to perfection, evidence that the sculpture was abruptly taken away from the carver to be transported to our school?  Or maybe it would be Berniniesque with piles of torrid drapery and undulating rapturous folds.  I secretly drew pictures imagining possible permutations. 


The fateful day arrived.  Something stood against that naked wall beneath a sheet, pregnant with expectation.  We were all ushered from our classrooms and silently (for grade schoolers) filed into the lobby to face the sheet.  With prayers and a great flourish, the sheet was yanked away from the wall and with it my heart collapsed as it deflated to the floor.  There, attached to the wall was a wood  carving somewhat painted.  Not so much polychromed so as to have that syrupy verisimilitude of the saints and martyrs gazing down upon me at church, but rather like some paint was applied, then wiped off.  More like a stain.  The much anticipated drapery hung stiffly in lines that I guess were meant to describe folds.  Disappointment reigned supreme in my heart that day, and not the Queen of Heaven.


I had long forgotten this episode, until the other day when I was walking down via dei Cestari, here in Roma, and in a store window for  arte sacra, there she was.  Mater Christi.

Large Scale

Monuments are, well, monumental.  Big.  Sense of scale is everything. As a New Yorker, one would think I am immune to the presence of the large, but counter-intuitively here in Roma I am in a state of perpetual awe.  And my work has responded accordingly to my adopted environment.  Recently in the studio I have been working on a series of large scale drawings which relate to this Eternal jumble of a City, which I then place in the urban environment.  I like the in context / out of context tension that develops.  (and of course I like to watch how people interact with them too)

Christopher Pelley  Large Gesture #1

Christopher Pelley  Large Gesture #1

Christopher Pelley  Large Gesture #1

Christopher Pelley  Large Gesture #1

This drawing (charcoal on paper, 230cm x 144cm) was temporarily installed on a sunny day at the end of March 2012, in Piazza Lovatelli, Roma

Penises of Rome

OK, admit it.  We all do it.  We check out the crotch on those buff roman male statues.  Whether our interests are prurient or not, we just have to go there.

To combat the possible sense of lust, church fathers set the trend for covering up the offending pudenda with plaster fig leaves.  They are the smallest fig leaves I have ever seen, conforming tightly to the genitals... (speaking of which, have you ever noticed that Venus, the goddess of Love, doesn't have genitals?)  But why fig leaves?  The Bible states simply that Adam and Eve covered up their nakedness; it doesn't say with what.  Back to the origins of christian iconography, Adam is shown with a large fig leaf, not only to cover his sex, but also to hide where the navel should be.  An easy way out from a thorny liturgical question, as important at the time as say, how many angels could dance on the head of a pin?  Or did Christ's divinity come from him or through him?  (a major theological crisis which lead to excommunications, and schism).  So, if Adam was created by God, and not born of a woman, would he have a belly button?  The artistic answer was to hide that part of the body and call it a day.  A fig leaf did the trick.

Hunterian Psalter  English  ca 1170

With time and trends, the fig leaves are falling, sometimes exposing, er, not much.  The penis has fallen off in the intervening couple of thousand years.  (Former) Prime Minister Silvio Berlusconi was so concerned that the 2nd century AD statue of Mars gracing his office was minus the penis, that he had a restorer fashion a new one.  In keeping with the parameters of restoration and not permanently intruding on ancient material, the new penis is attached with a magnet.


Here are a few hanging around Roma (or not).

Oracle

Answering the how, the what, the why and other unfathomable questions of the universe has always preoccupied mankind.  Sibyls, Seers and Prophets hold a sacred place in our mythologies.  Of course the answers given are never staight forward and the signs and cryptic words are always open to interpretation.  Over dinner at our favorite chinatown noodle joint the other night, Joyce was playing with her new iphone.  "Ask it a question" she said, handing me the phone over a gently steaming bowl of fishball and hand pulled noodles.  I pushed the button, then asked "How do I become a famous artist?"  After a moment or two Siri's voice in a monotone with only the slightest hint of emotion replied like some modern oracle at Delphi -"here is a list of art supply stores in the area".
I guess that means I should keep painting...
Here are a few new ones:


Christopher Pelley  ITALIAN LESSON #1  oil/canvas   100cm x 115cm 

 

Christopher Pelley  RECLINING NUDE  oil/canvas  90cm x 120cm

Christopher Pelley  ANTINOO  oil/canvas   75cm x 90cm

Christopher Pelley  SIGN LANGUAGE (ITALIAN)  oil/canvas  60cm x 70cm

It's Our Pleasure to Serve You (video)

The iconic blue and white NYC take out coffee cup was the focus of  'It's Our Pleasure to Serve You' - an installation I did at the Vizivarosi Gallery in Budapest in June 2010.  On one side of the coffee cup the discobolus is featured prominently, his nudity now covered by some sort of gladiatorial skirt.  I am fascinated that an image of a sculpture created in the 5th century BC has remained in our visual vocabulary.  (The original bronze by Myron has long been lost, but a plethora of marble  copies in various states of repair still exist). 

I chose to re-interpret this image in a vocabulary unavailable to the not so distant past, but is now commonplace - a lo rez digital breakdown.  By hand painting each square, or digital unit, I have tried to re-assert a sense of the organic and unpredictable into something that usually resides in the realm of  mathematics.  Here is a video of the project (digital, of course)

ANTINOO (lost youth)



Christopher Pelley   ANTINOO (lost youth)   installation August 2011

Antinous.  The beautiful Bythinian youth and Emperor Hadrian's "beloved" (euphemism) drowned in the Nile in the year 130 AD at the age of 19.  Hadrian had him deified, had temples constructed in his honor across the empire and even built the Antinoeion, a complex of buildings and pools complete with an obelisk at his villa near modern Tivoli to enshrine the memory of this lost youth.

The image of Antinous fascinates me.  So after much looking at it, I began to deconstruct it.  This installation is a super lo-rez image of a bust of the 19 year old at Palazzo Altemps (Museo Nazionale Romano) in Rome.  The sculpture in itself is interesting merely by the fact that it was carved in the second century AD, then heavily "restored" (read re-carved) in the 18th century.  It now presents itself as the classical ideal of beauty as seen through 18th century eyes.   I have tried to interpret this singular bust from a 21st century perspective.  Each pixel of my lo-rez image is a 5cm x 5cm square of painted paper.

But why the resonance?  Why has this image continued to endure through the centuries while so many others have been neglected or forgotten?

Entering as I am into that period of life generously called middle age (another euphemism), I realize now that youth is something to be appreciated (like the lo-rez image) from a distance.

Christopher Pelley   ANTINOO (lost youth)  detail