Adam and Eve

This 2 part figure is available with all views.

Reminiscing about the exhibition atCarole Feuerman’s gallery and studio at MANA Contemporaries in Jersey City

My urge to create comes from the world of movement, kinesthetics. It is my need to dramatize the simplicities of anatomy in movement and find the true essence of these movements. It is only by uncovering the variations of movements that I discover the pinnacle moment of movement which represents my figure or portrait. This has never been clearer than the art of movement as in dance and in music. The climax of a symphony leaves the listener with the heartbeat of the artist.

The same occurs when we view sculpture, we enter the theatre when we walk in front of the sculpture and hope to be moved and thrilled. It is this impression that we walk away with when we view sculpture.

The moment of a movement, which clarifies and speaks to the artist, relates the most amount of significance. It transcends the other moments. It is through observation of people in motion or observing a model taking a pose where I can learn what the person is anatomically about which in turn will help me create the story behind the sculpture.

 

This is the 5 year anniversary of the showing at MANA Contemporaries in Jersey City at Carole Feuerman’s large studio and gallery.

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Adam and Eve

 Adam and Eve: A monumental sculpture by Glenn Marlowe   Photo credit: Jason River

Adam and Eve. Luscious yet hard, vile yet beautiful. This sculpture exhibits the unrelenting passion of the best Broadway choreography ever staged.

Mythology, religion, and science merge in celebration of humans existence on an isolated island. Who sculpted the first atom in this shrinking and expanding paradigm we call “Our Universe?”

Being torn from Adam humanity begins. The aftermath of our departure from Eden was a strict unyielding divorce; the divorce from the state where no shame, no knowledge and no passion existed.

“Adam and Eve saw that they were naked, and they became afraid. Unconscious denial of their animal nature set in very quickly. The threat that they might be taken over by powerful instinctual drives and revert back to complete unconsciousness was indeed a very real one. Shame and taboos appeared around certain parts of the body and bodily functions, especially sexuality. The light of their consciousness was not yet strong enough to make friends with their animal nature, to allow it to be and even enjoy that aspect of themselves — let alone to go deeply into it to find the divine within it, the reality within the illusion. So they did what they had to do. They began to disassociate from their body. They now saw themselves as having a body, rather than just being it”. – Eckhart Tolle, The Power of Now

Adam

Adam’s pose is inspired by one of 20 mysterious male nude figures called “Ignudi” painted on the Sistine Chapel.

The Sistine Chapel. Photo credit: Franco Origlia

The “Ignudi” (a phrase coined by Michelangelo), are depicted on 5 panels on the ceiling of the Sistine Chapel. Adam’s pose is derived from one of the Ignudi perched in the corner of the Sacrifice of Noah.

By Michelangelo – present version is derived from earlier version, with color cast adjusted, however this version may appear too blue, reference link: https://commons.wikimedia.org/wiki/Sistine_Chapel_ceiling.

In Eve’s pose (as in many of Glenn’s sculptures), the viewer perceives a precursor or catalyst which led to a theatrical moment captured in a pose. Eve’s pose is dynamic, unconventional, and reminiscent of an expulsion. Adam and Eve: a monumental sculpture by Glenn Marlowe is a contemporary spin on a legendary subject depicted throughout the history of art.

The Fall and Expulsion from Garden of Eden from the Sistine Chapel ceiling by Michelangelo.

Adam and Eve by Albrecht Durer

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