The contemporary artistic language of Arnaldo Pomodoro (Montefeltro, 1926) is based on the hyper-polished bronze surface of spheres, columns, pyramids which reflect and deform light and their surroundings, while erupting into an archaic, modern, or even fantastical tangled matrix of code references, signs and 'writings'. As for the iconic Sfera, the greatest hit of his production and a particularly pointed example of Pomodoro's embrace of Spatialism first pursued in the 50s when he met Fontana in Milan. Infact in this artwork the perfect surface of the sphere cracked open by «a delirious succession of fragments searching for order» (Gulio Carlo Argan) to reveal a core - or 'nucleus' as he calls it - to locate the possibilities therein. Pomodoro's sculptures nod to human interference in nature, creating instead something altogether more unworldly.
Pomodoro's ability to continually renew himself, made him exhibited on five continents, masterminded staggering environmental and architectural works, created set and costume designs for a panoply of theatrical works, and currently has more than 230 of his works on view in public collections and spaces around the globe.
Some of Pomodoro's Spheres can be seen in the Vatican Museums, Trinity College, Dublin, the United Nations Headquarters and Mt. Sinai Hospital in New York, the Hirshhorn Museum and Sculpture Garden in Washington, D.C., Christian Theological Seminary in Indianapolis, the de Young Museum in San Francisco, Tehran Museum of Contemporary Art, American Republic Insurance Company in Des Moines, Iowa, the Columbus Museum of Art in Columbus, Ohio, the University of California, Berkeley, the Virginia Museum of Fine Arts in Richmond, Virginia, and the Tel Aviv University, Israel.