2012-13. Iron. 160-175 cm
the Hope series, consisting of sculptures characterized by solid bases that keep the work erected, which allow the vertical position, while ascending upward, which is opposed to the real sculpture, elegant, thin, almost frail, apart from the physical properties of the material chosen. The upward thrust, understood in the Gothic yearning for the divine, culminate in a game of shapes that seems to translate into the third dimension what is achieved on the canvas by means of wires.
In the upper part, almost as if it was the head of these archaic idols, the structure becomes more complicated, iron signs and forms multiply and branch off, still remaining connected and linked by thin wires which are alloyed in a net by the artist. So she puts them in contact by means of thin ties. Marta speaks to us of connections that, although invisible, allow distant people to become close. She tells us a physical, cultural, social and religious distance, but distance here doesn’t mean emptiness, the distance is rather nullified by the thin wires allowing for the connection between individuals and society.
The complexity of these works is not only given by the dialogue between the various composing parts, but also by the relationship between a sculpture and the other one, a multiplication of connections that gives life to an army of idols, transmitting the metaphysical atmosphere that recalls the disquieting “Le Muse” of De Chirico.