Four Horses of Apocolypse
The notions of classicism and consumption, ostentation and material value re-emerge in this work and this time the context is that of civic pride and identity. Edgar Allen Poe’s poetic reflections on ‘the glory that was Greece and Grandeur of Rome’, sadly omits the opulence that was Venice, the Serenissima where as one medieval chronicler obseverved, ‘all the gold in Christendom passes through the hands of the Venetians’, Yet this city noted for the most precious and gorgeous commodities of East and west could not maintain its supremacy. The mosaics, the shining domes and bronze statues assumed the patina and decay and decadence. This notion is captured by this work by its classical form made from the used and useless, the discarded relics of mass consumption. The value of the gold, ivory and porphyry, the sumptuous silks and the precious brocades that powered the heart of Venice, I call all of this into question by the work. The purpose of the work is to make a classical icon in contemporary materials and therefore all of the pomp and intrinsic values of the original works are offered a space in our contemporary thinking.