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Between 1985 and 1988 Goldschmiedt conceived and produced several fine small bronzes.  Despite the fact that he was, and remains, attracted by this art form, his sculptural work nonetheless remains fairly limited with respect to his extensive pictorial oeuvre, precisely in order to avoid excessive interference with his painting, which is his first and greatest passion.

Eruca 2000 is a dragon-worm coiled in a spiral, with a single central eye, winking and cyclopean, and forked handlebar antennae. L’Ostaggio is a swollen and livid small monster, bound with many twisted ropes, which evokes disturbing images of dungeons and torture, injustice, suffering and desperation. The intelligent and noble head of the artist’s Cavallo di Troia is calligraphically illuminated and crowned with an unusual diadem, creating an odd contrast with the Trojan horse’s round and pregnant belly that conceals the trap beneath its pock-marked skin and merges with its stumpy legs fastened with bolts of flesh and forcefully driven onto a wheeled base.

The mighty and compact soaring pyramidal machine built by Ulysses and the Achaeans imposes its motionless and explosive mass.

Its evocative power awakens the rush of memory, the remembrance of the myth and the mystery of the legend: our senses magically relive the clangour and furious impetus of the battle on the bloody plain of Ilium, the tragic and mocking premonition of the fire, destruction, massacre and wandering hero with a human face: Aeneas. Fine d’un Viaggio (1986) is a “corroded” fish trapped in a net, torn from its habitat. 

The artist intends it as a warning and an alarm cry against the exaggerated distortion of the environment.

Eighteen years passed before Goldschmiedt returned to the art of sculpture. However, even when he did, it was never as a full-time occupation, and thus his love for it can be considered rather volatile. 

In 2005, the year in which he inaugurated the new Fragments phase, the artist created a sculpture of unusual dimensions, vaguely figurative in style, which presented a clear and paradoxical contrast with the absolute informality and abstraction of his new “pictorial” and “anti-pretty” formula. Goldschmiedt combines the almost Boccioni-like dynamism of the corpulent figure, captured in the awkward and improbable attempt of raising itself, with the expressive title L’Insostenibile Pesantezza dell’Essere, creating an inevitable reference to Milan Kundera (could the coincidence of names have anything to do with it?) and his Unbearable Lightness of Being. This is the umpteenth innocent play on words, which has always been one of the artist’s hallmarks.

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