The statue MARIA omnia plena (full of everything) is clothed with a mesh surface that makes her transvisual containing everything around her.
At the same time, with the mutations made possible by the mesh, depending on points of view and light, the whole contains her.
Conceived to be touched with the eyes and not seen with the hands, the dimensions of this sculpture range from 8,66 in (22 cm) up to 10 ft (3 m) and more, upon request.
Reproducing the MARIA Icon with a mesh surface and 3D printing it not only makes it trans visual, hence Omnia Plena, but also ascending, hence MARIA Ascendit.
Made of white polyamide with additive 3D printing, the 9,9 ft enlargement weighs 71 lbs and allows a noninvasive midair suspension with transparent nylon cables.
Applying 3D printing and a sophisticated engineering to assemble the parts that make up the enlargements was the most challenging legacy. The effect of a hologram is well-known and frequently employed, but with MARIA Ascendit it materializes into a physical body that can have a dialogue with the surrounding light and everything around it.
Even with sculpture we can, now, touch with our eyes the Ascension of MARY.
Imagine MARIA Ascendit in …
MARIA ASCENDIT
a path for our ascension
I gazed in fascination at the sculpture MARIA by Guido Dettoni della Grazia suspended in the air containing all the matter and light that surrounds her traveling inside her.
For over two thousand years, sculptural representations of Mary have had their feet anchored to the earth accompanying us on our journey of the soul. She and we, here, tied to the ground, longing for reunion, feeling the extreme density of matter as a difficult challenge to overcome.
On the contrary, only pictorial representations elevated her in a non-tangible, virtual way, freeing her from the density of matter.
Now, at the beginning of the 21st century, the author of MARIA Ascendit uses the 3D printing technique and a reticular surface to achieve the lightness and transvisuality of a tangible sculpture that can be suspended to become the same environment that welcomes it. A painting, a fresco, or a hologram would be equivalent to a photogram of the visual narration, while MARIA Ascendit is the same visual narration: the one proposed by the temple with its architecture or a natural environment with its scenography. The sculpture thus almost gives form to the hope of being able to ascend with her.
The technique used to achieve this result arises from technology, a distinctive element of this new era. The same technology that can separate and disintegrate us, that can turn us into almost automatons, but also the same one that allows us now -for the first time- that a sculptural representation of Mary can ascend. In a dual world – we ourselves are dual – technology is also dual. We choose which aspect of duality we wish to live.
Mary has already begun the path of Return. To contemplate her suspended in the air invites us to follow her. MARIA Ascendit shows us how matter can ascend by letting go of all that is unnecessary, leaving only the essential, that which gives us form and which, in turn, allows us to contain the light within us.