Earlier than our eyes, dramatic scenes of cosmic cataclysm unfold in windswept terrains. Imposing, sculptural figures dominate the foreground of Tonda’s work, vividly capturing the push and pull of an invisible power at work. Lorenzo Tonda attracts his inspiration for the title of his exhibition at Gallery Poulsen, Tales from the Final Days from the famend Apocalyptic fresco cycle created by Luca Signorelli between 1499 and 1502 within the Chapel of San Brizio at Orvieto Cathedral in Umbria, Italy. Like Signorelli, Tonda commits his consideration to the bodily expressiveness of the human kind. Tonda’s meticulously detailed works that depict occasions of perseverance, turmoil, upheaval, destruction and defeat, function a strong reflection of latest humanitarian crises.
His work and sculptures inform a narrative, beginning with an echoing of Signorelli’s “Resurrection of the Flesh” during which Tonda’s figures equally emerge from the earth solely to be reabsorbed by the bottom at a later stage. Will these figures succumb to exterior forces, or will they adapt and overcome these difficult environments? Along with the affect of Renaissance masters, Tonda can also be impressed by the sculptural figures of Gustav Vigeland at Vigelandsparken in Oslo. Each Tonda’s work and 3D sculptural works emphasize the protecting bond skilled between mom, father and baby as they spotlight the resilience of those relationships and significance of humanity.
“On this sequence of works, I deal with the human determine and its passive interplay with the unsettling power of the wind,” Tonda says. “The weather in every portray are few however outstanding: our bodies, timber, garments, clouds and hair – all of which convey the obsessive presence of a fierce wind that animates the scenes and torments the figures. All the pieces is unified by a muddy, barren terrain that, within the first portray ‘offers delivery’ to a bunch of figures.”
