The slightly, less insane way to
navigate the 2015 Venice Biennale is via water taxi or vaporetto. Otherwise
you’d break a world record for number of bridges crossed and number of events
missed.
If you do manage to get a ride
though, the squeeze is tighter than a NYC subway car at rush hour. As an art
lover, there’s no choice, but to embrace being a sardine.
Seeing every aspect of the sprawling
Biennale is quite impossible, but attendees strive to feast on as much of the
mammoth artistic banquet as they can.
Everyone wants to be at the right
place at the right time to discover ‘the piece of the moment.’ Well, her name
happens to be Leda and she is residing at Palazzo Mora.
 |
Leda and the Swan, 2014. Oil on Resin with 24K Gold Leaf and Swarovski Crystal. 42 x 80 x 90 inches.
|
During the Biennale the sign that
read “Do Not Touch” on Leda and the Swan evidently
translated to: “Please poke, kiss, and take a seat!” The swarming crowd
immediately adopted Leda as their own family.
People literally could not resist
touching the sculpture, especially the Swan! They needed to prove that it
was in fact not inflatable and that they could not use it to float down the
canal in style.
The enduring hypnotic effect of
Carole’s hyper-realistic sculptures was strongly felt by every visitor.
Carole’s sculptures have the resilient and distinctive quality of being
mistaken for the real thing again and again.
At one point a gentleman with a
camera seemed to be engaged in a staring contest with Leda. He seemed convinced
that she’d slip a wink and he’d be the one to catch it. We here at the studio
applaud his efforts, but Leda never loses!
It was a multi-generational gathering
at Palazzo Mora and Carole is always thrilled to see her work being enjoyed by
an energized, diverse crowd. All who ventured in enjoyed live music and
specially supplied JEIO Prosecco wine
by Bisol!
 |
| DurgaMa, 2014. Painted Bronze. 101 x 90 x 91 inches. |
Palazzo translating to Palace is highly appropriate since the ascending beauty DurgaMa
stands tall as a lovely sculpted sentinel at the entrance.
The sculpture very
much embodied the exhibit’s theme of existence as it represents the cycle of
life and the blooming of the Lotus Flower, which signifies rebirth.
Carole was thrilled to participate in
another magnificent Venice Biennale and offers her special thanks to the
curators of Personal Structures:
Sarah Gold, Karlyn De Jongh, Valeria
Romagnini, Rachele De Stefano,
Anna De Stefano, Jaspal Birdi, Lucia
Pedrana and the one and only Rene Rietmeyer.
