The slightly, less insane way to navigate the 2015 Venice Biennale is via water taxi or vaporetto. Otherwise you’d break a world record for number of bridges crossed and number of events missed.
If you do manage to get a ride though, the squeeze is tighter than a NYC subway car at rush hour. As an art lover, there’s no choice, but to embrace being a sardine.
Seeing every aspect of the sprawling Biennale is quite impossible, but attendees strive to feast on as much of the mammoth artistic banquet as they can.
Everyone wants to be at the right place at the right time to discover ‘the piece of the moment.’ Well, her name happens to be Leda and she is residing at Palazzo Mora.
Leda and the Swan, 2014. Oil on Resin with 24K Gold Leaf and Swarovski Crystal. 42 x 80 x 90 inches.
During the Biennale the sign that read “Do Not Touch” on Leda and the Swan evidently translated to: “Please poke, kiss, and take a seat!” The swarming crowd immediately adopted Leda as their own family.
People literally could not resist touching the sculpture, especially the Swan! They needed to prove that it was in fact not inflatable and that they could not use it to float down the canal in style.
The enduring hypnotic effect of Carole’s hyper-realistic sculptures was strongly felt by every visitor. Carole’s sculptures have the resilient and distinctive quality of being mistaken for the real thing again and again.
At one point a gentleman with a camera seemed to be engaged in a staring contest with Leda. He seemed convinced that she’d slip a wink and he’d be the one to catch it. We here at the studio applaud his efforts, but Leda never loses!
Palazzo Mora
It was a multi-generational gathering at Palazzo Mora and Carole is always thrilled to see her work being enjoyed by an energized, diverse crowd. All who ventured in enjoyed live music and specially supplied JEIO Prosecco wine by Bisol!
DurgaMa, 2014. Painted Bronze. 101 x 90 x 91 inches.
Palazzo translating to Palace is highly appropriate since the ascending beauty DurgaMa stands tall as a lovely sculpted sentinel at the entrance.
The sculpture very much embodied the exhibit’s theme of existence as it represents the cycle of life and the blooming of the Lotus Flower, which signifies rebirth.
Carole was thrilled to participate in another magnificent Venice Biennale and offers her special thanks to the curators of Personal Structures:
Sarah Gold, Karlyn De Jongh, Valeria Romagnini, Rachele De Stefano,
Anna De Stefano, Jaspal Birdi, Lucia Pedrana and the one and only
Rene Rietmeyer.