Dolly Moreno: Finding Strength

Artist Dolly Moreno at her studio. Photo Sergio Guerini.

By Irene Sperber

Brazil-based sculptress Dolly Moreno hovers over a fire at 5000 degrees to accomplish the melding and shaping of strong lines and graceful surfaces that distinguish her remarkably complex pieces.

Showing in Wynwood’s Kelley Roy Gallery from November 13 until late January, Moreno’s sculptures have an elegant fluidity that belies the harshness of the welding technique necessary to marry pieces of steel.

The often hard-edged but softly undulating sculptures are calming and many-faceted. The viewer is aware of different perspectives as they move about the sculpture; surfaces ebb and flow in ways not anticipated at first glance. Some sculptures are other-worldly, some evoke dance movement or forcefulness, and others are knife-edged or possess lilting personae. Never bordering on the frenetic, her communication stays clean and true at all times.

Breaking and reuniting surfaces, the pieces play out their secret stories. One suspects this petite artist is a woman of many sides. When speaking of her work, Moreno talks about love and loss, her own relationships and experiences mirroring the correspondence of material and mind. Stainless steel, brass, and occasionally the lovely reddish-hued Cabriuva, a hard, durable wood from Brazil, add depth and nuance. Whether reflective or a brushed matte finish, materials are ingeniously collocated angles and sweeping lines. Magnetic spheres create movement within the snaking sculptured metal, eliciting thought of planetary patterns and the ever-evolving puzzle pieces of unending change.

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Dolly Moreno, Segmentos I, stainless steel.

From her multi-tiered background, Moreno melds her thoughts and emotions strongly and eloquently. Her mother’s story is an integral part of her sculptures; at age 15, her mother escaped the pogroms‘ attacks in her native Russia, arriving alone in Egypt and sent to a refugee camp. A self-made man, Dolly’s father brought the family a pleasant life, allowing his teenage daughter to take lessons from the best Egyptian artists. Years later, the family’s exodus from Egypt following the 1956 Suez Canal War instilled in Dolly a realization of “how fragile, how unstable my world was, hanging by a thread,” and had a “marked effect on my life and work.” As she states, “my sculptures are always on the point of breaking apart.”

Her colorful and captivating Flight is perched on a spinning base, a stainless steel composition with eleven lacquer paint tints. This dynamic, interactive selection leads people to further investigate Moreno’s engaging artwork. Ludica Petite leans toward the more feminine with its electrostatic pink-hued ovoid, bubbling over with numerous small, magnetic steel orbs. Praying Man is startlingly opposite in nature, with a very intense upward angular motion.

A few of the Dolly Moreno’s extensive international exhibitions venues have included New York, Brazil, California, France, Germany, and South Florida. In 2006, she received first place award at the “La Societe Nationale des Beaux Arts” at the Carrousel du Louvre.

Ranging from one to seven feet in size, the 25 or so pieces in Kelly Roy’s “Dynamic Instability” exhibition covers the artist’s work from 2003 to present day.

Kelley Roy Gallery. 50 NE 29th Street. Miami, FL 33137. Phone: 305 447 3888.

www.kelleyroygallery.com (November 13, 2010 - January 29, 2011)

Irene Sperber is a photographer and writer based in Miami.  She has exhibited her artwork internationally. Her articles, essays and photographs have been published in Miami Art Zine, The Examiner, South Florida, Casa y Estilo, and Art in America.