Bronze, silver and lead sculptures, some drawings. This is an excellent exhibition, not only respecting the quality of the work, but also because it helps to expose the lie that abstract images are too much the same. It proves that individual and national characteristics maintain themselves even in nonobjective contexts. There is little doubt that this is Italian sculpture, just as Pollock’s paintings are American, or Soulages’ French. It shows that subject matter is a lesser part of the artist’s heritage. There is an earthy taste here that differs from the lighter taste of the French and a sense of craftsmanship that is much a part of contemporary Italian tradition. The catalog notes that Pomodoro studied architecture and jewelry design which pretty well tells the tale. The large, contained, rectangular panels are best seen in relation to architecture, drawing richness from warm woods and contrasting to metal and glass. The others, tiny, and of precious metals are at home with cut crystal and velvet lined boxes. The drawings amplify this dual aim. Reduced, they become rings and things, enlarged they become true architectures that support and contain. The total image is a rich extension of the decorative arts, elegant beyond belief.
—Henry T. Hopkins
