In the course of the years I have seen whole mountain tops vanish in Carrara.
The cuts into the mountains gape open like huge wounds.
I quickly realized that an enormous industry satisfies the world-wide need for marble from here.
The artist Latanzzi, who lives in Carrara, says today that the sensitivity for the white marble, unfortunately, has been lost to a certain degree. The business with the stone has got priority.
And yet – it is fascinating to observe the quarrying of the stones with the help of gigantic machines. You can hear pneumatic hammers and watch huge saws cutting through the stone. Blocks of white marble lie around everywhere, looking like over-sized toy blocks. It is a world of its own.
Does it surprise, then, that marble – being the predominant material in this area – gives a simple elegance to the humble buildings of the local villages? No matter, if on houses or on streets, you come across marble wherever you walk or look.
For my sculptural work I decided to use the marble of Carrara.
Drawn to it by its colour and its fine veining, this stone is more than beautiful to me – it is aristocratic and rewards those, who treat of with love and admiration.
At every stage, from the right choice of the stone to the completed sculpture, the marble of Carrara demands a particular sensitivity, a pronounced aesthetic sense, which is much more than technical skills. You have to understand marble as a stone first, if you want to handle it with such sensitivity.
My paintings, however, often are a result of my intuition. Painting for me is the continuation of ideas that have already been formed in my mind.
Entrapped by the whiteness of the stone and the exceptional blue of the sky, these colours again and again dominate my paintings.
In fact, there is no need for any other colour, in order to paint a picture of the quarries of Carrara.
Torsten Paul, 2016