The metal statues in his series under the title of “The Fugacity of Existence” (La Fugacidad de la Existencia) strongly impress viewers, as the artist directly addresses them with the dramatically fragmented bodies he creates, which seem to demand a response. In fact, what he does is to draw awareness to the process of destruction that time has, by depriving the human shapes he sculpts of their interior and never actually closing their outlines. This produces a further effect on spectators, which is the shattering sensation that the human features they are looking at are leaving part of themselves behind, as if they are about to desintegrate in the process of going through life and time.
On the other hand, Manuel Martí Moreno triggers another kind of sensibility in viewers with the smooth flow he gives to the shapes of his sculptures, the undulating rhythm of the outlines of their crumbling bodies, offering an uncanny feeling of a continuous melody conveying peace and mystery at the same time. They simultaneously disturb and enchant audiences, directly addressing them with the disconcerting tension between matter and essence, spirit and body, volume and void. His sculptures seem to be only temporarily among us, ready to disintegrate into powder at any moment right before our eyes... “dust to dust, ashes to ashes”.
In his artistic statement about the fleetingness of existence and his way of addressing emptiness, Manuel Marti Moreno’s work reminds us of Bruno Catalano’s incomplete sculptures, dealt with in a previous post. Moreno’s creations, however, are left with their ostensible void, never fulfilled, dramatically at the mercy of the imagined and inexorable decay.