| The Wizard of Clay |
| Spring 2010 - Reviewed | |
Edward RubinFilling Chace Center to the brim, the largest gallery at Rhode Island School of Design (RISD) Museum of Art in the City of Providence, Inner City comprised an astonishing array of architectural-scale models and tiny figurines fashioned entirely out of clay. All the little male people—the sculptor’s version of Everyman—strikingly similar in their facial and bodily characteristics, bring to mind countless crowd scenes found in old Depression-ear Hollywood movies. A collaboration of New York ceramicist Arnie Zimmerman and Lisbon architect Tiago Montepegado, the convoluted twists and turns of this bustling model city readily invite reflections on the history of man. Think Balzac’s La Comédie humaine or the densely populated panels of Pieter Bruegel and Hieronymus Bosch: here mankind is seen variously at work, daydreaming, carousing, or marching off to war—in short, going through the daily grind of industry.
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