Marco Aurelio
M
arco Aurélio R. Guimarães’ work bears a resemblance to classical Renaissance sculpture not only for its humanistic character, which praises the strength and beauty of human anatomy but mainly for its technical aspect. There is no sketch in the sketch. The artist idealizes the piece with the participation of live models, who pose for about three hours per session. The objective is not to portray features or facial expressions identical to those of the models, but to observe them have the maximum fidelity to the body gesture, scale and other basic aspects of anatomy. The sculptor then goes on to a first model made of plasticine, a compound of waxes, pigments, and oils that results in a flexible and moldable mass. In this first piece, which measures about 10 centimeters and is called a bozzetto, Marco Aurélio tests the body’s structure, position, and proportions. In the second modeling of the same material, already measuring approximately 40 centimeters, the artist details more aspects of the human body, such as muscle masses, tendons, veins, hair, and other textures. A mold is taken from this second piece from which an identical plaster reproduction is fused. From the visual references of the plaster model, the artist transfers the measurements to the final scale, on the marble block, with the help of a mechanical pantographic system based on measurements by a three-bar process. Then, the removal of the unused parts of the stone begins, which, as in antiquity, is being carefully worked by the artist with saws, breakers, hammers, chisels, gradients, and other tools, until they reach the final shape, with the realism that the artist intended.
MARCO AURELIO
Born in Belo Horizonte, Brazil. Photography by HSSilvester
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