On the way out from the lecture theatre, I caught sight of a poster on a church door (Volterra has thirteen churches inside its city walls) which stated in quaint English:
You are welcome, deer tourist guest. Enjoy nature’s beauty and human achievements, and we pray you return home physically rested and spiritually strengthened.
Signed, the Bishop
Spiritually strengthened but physically exhausted, I stepped inside a small alabaster studio where Pupo mastro alabastriere works. A friend had suggested to me that I go and visit this endearing, ancient Volterrano gentleman who works in a studio the size of a large table. Everything here is covered in fine white dust – so fine, in fact, that you don’t really see it: it just seems that a patina of ‘pale’ covers everything, including Pupo – who is very appropriately wearing beige and grey. The dust is of such fine texture that it just seems to make everything a shade paler, rather like looking at a faded photograph or at a landscape through a misty lens.
Slightly selfconsciously, I started to chat to Pupo, whose strong Tuscan accent with its c aspirate is a joy to my ears – it’s a bit like hearing Dante speaking to you.
Pupo described starting work in the family business at age 7, having decided school was boring. He talked about his mother, whose pale picture hung on the side – a birthday picture, wishing her many happy returns for her 103rd birthday (in 2003 if I remember rightly). He talked about working in Milan producing cast models from which castings would be taken, and about the dying art of alabaster. He talked about the figures he makes – many of animals, horse heads and dogs, of birds and turtles, some on commission.
I asked him about his art – what his favourite part of the process was. He looked at me with a twinkle in his eye and said “this” patting the large-ish boulder in front of him sitting atop a swivelling stand on his hand made work bench. Weighing in at about 70 kilos, the bulky shape looked like nothing much, but he explained that he was carving a family of elephants – the small one leading, the mother behind it and the father, the largest form, taking up the rear. He looked up at me, and said “I see them in there”. And so I remembered Michelangelo’s sonnet
Every block of stone has a statue inside it and it is the task of the sculptor to discover it.
Yes, he agreed, it is about taking away what is extra. And do you know the hardest thing? What I still haven’t learned to do? To stop myself before ruining the piece, to listen to my gut when it tells me it will not get any closer to what I have in my mind’s eye, that I should lay aside my tools, and call it a day.
I asked him whether he thought of himself as an artist or an artisan, and he replied that he is neither. “Io sono alabastriere”. Being an artist of alabaster is like nothing else, he said seriously – and paused, looking at me intently. It is a way of life, a way of thinking, a way of passing the time. It keeps me company, he said, and it’s good fun. With these new tools, I don’t have to make any effort at all – he points to a rudimentary drill head attached to a scalpel.
Momentarily, I was lost for words. Here was a man in his 80s, with basic literacy skills, who had single handedly expressed what I had spent 6 hours trying to get my students to understand. The concept that what we learn in life – and in museums – is far less about knowledge than it is about being human. At the heart of this, is the idea of proclaiming a life worth living that has nothing to do with our capacity for intellectual understanding. I had repeated to my students that GLO (generic learning outcomes) indicators used in British museums place knowledge on a par with skills acquisitions and sociality, that analytical capacity goes hand in hand with emotional sensitivity. And that a visit to a museum – or a day in one’s life – spent nurturing our emotional being is worth the time spent poring over a million books.
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