“The Queen of Sheba; Art and Legends from Yemen”

Meeting with Sofia Vari in view of her upcoming exbition with Vittorio Sgarbi in Turin.

By Margherita Calderoni

Sofia Vari

The Queen of Sheba; Art and Legends from Yemen - the exhibition which will take place in Palazzo Bricherasio in Turin from the 27^th of September to the 7^th of January 2001, will focus on the legendary character of the Queen of Sheba also through the artistic contributions of Vittorio Sgarbi and Sofia Vari. The eclectic art critic will be responsible for a selection of works dating from 400 to 700 concerning precisely the mythical figure of this august lady, including, among others, Tintoretto, Mattia Preti and Rubens. Very much at ease with this female personage, which has been a source of artistic inspiration throughout the centuries, Sgarbi actually “shares” a room with her painted image in his house. “I have been invited to participate in this exhibition by choosing those paintings which highlight the Western interpretation of this legend”, he stated during his brief appearance in the Versiliana this summer, “in which I see an exaltation of female power – the regal authority of the woman who spoke with King Solomon also on issues of practical interest, such as the Spice Trail.”

                A topic which numerous famous artists have addressed in works rich with imagination possesses a definite sensual quality as well, and in virtue of this aspect, the sculptures of Sofia Vari, at her first exhibition in an Italian museum in the wake of her internationally-renowned spouse Fernando Botero, will complement the paintings. The combined effect is that of an artistic contrast between “the sacred and the profane”, which alludes to the greater contradictions of contemporary artistic expression, in which, according to Sgarbi, we witness a return to figurative art in a way which allows people to feel at ease with art, to understand what they see. What, then, does Sgarbi think of Kan Yasuda’s recent exhibition in Florence? “An episode”, he replies. “An exhibition which is well because it is temporary, like others. The problem is when certain things become permanent, such as the sculpture by Pistoletto, which ought to be removed.” As far as the preservation of other works is concerned, his position on restoration, which lately seems to have become the main concern of several museums, is equally categorical: “restoration is the main cause of the destruction of works of art. Especially in architecture, where the visionary delirium of certain architects creates absurd monstrosities. In painting there is greater care and attention, but it would often be better to leave things the way they are.”

                If Sgarbi has not pronounced himself on the conspicuous sculptures by Botero during his brief visit to Pietrasanta, the other protagonist of the Turin exhibition has on the other hand put down roots in this lovely Tuscan town, feeling especially at home in its foundries.  Born in Greece but brought up in France, the well-known  sculptor will exhibit nine large works of abstract art in the palace courtyard, along with several smaller ones along the imposing staircase, giving in this manner her own personal interpretation of the theme of the exhibition. “I don’t sculpt according to the theme but under the impulse of inspiration”, she states, “therefore I have chosen from among my works that which most represents the Queen of Sheba, and have placed it alongside one which I have entitled ‘The Nights of the Queen of Sheba’. I find the topic to be very sensual and this Lady to be very fascinating.”

Unlike her  husband, who considers himself a painter who sculpts, Sofia has sculpture in her blood, although she too began as a painter for economical reasons. And she can’t use poor materials because for her point of view a work of art must be impeccable in its form and in its substance    Sofia possesses a Classical background, given her origins, and figurative beginnings in her art, which then evolved into abstract, though maintaining the “idea” of the figure in her elegant sinewy and entwined compositions. Her sculptures are modeled according to a harmonious geometric dynamism which explores esthetical expressions of great visual impact and creative vigor. “I believe that an abstract artist can only be convincing if he began as a figurative artist,” she continues, “insofar as my guideline is the search for an epic composition, slightly dramatic but always harmonious. Art must give a sense of peace and beauty, it should have an esthetic and a therapeutic finality; it shouldn’t be aggressive or violent.” And possess an elegance which she also expresses in her jewellery, “sculptures to be worn” cast in gold, silver, ebony, coral and marble which Sofia always designs in six pieces, like all her sculptures.

                As for Pietrasanta, it was love at first sight 22 years ago when she bought a rustic house in Via della Rocca with Botero, putting the studio in the chicken yard. “This city is a sculptor’s paradise because it lives on art by tradition and everything is close at hand, from the marble to the casting houses.. My official residence is in Paris, but my heart is here, the emotion is in Pietrasanta, where I return to find people, tastes and traditions similar to those from my childhood in Greece.” And what about her life with Botero? What is it like to live with another great sculptor?

“As artists we are at opposite extremes, and we both have a strong personality, therefore our union could have been a disaster, but instead the opposite is true. We have the same interests and the same approach to art. There is reciprocal respect and complete independence in work, so much so that I only enter his studio on invitation. Cooperation and diplomacy is the key, in addition to spiritual affinity. And of course I have always appreciated his constructive criticism and his encouragement towards artistic rigor, to not let oneself be influenced by fashion but to always be coherent with oneself.”