Ian Charles Lepine seeks to present beings trapped in a crossroads of contradiction: his interest is to display creatures whose very existence negates their very existence. These are beings at war with themselves, a war where all victories cannot but prove pyrrhic.
His sculptures are frequently accompanied by a poem in either English, French, or Italian, that seeks to give word to the tragedy intrinsic to the form.
Author: Ian Charles Lepine
Technique: Ceramic clay sculpture, painted with oxides and enamel.
An allegory of foolishness, or perhaps one of wisdom. Perhaps few myths capture the Romantic spirit more than that of Icarus. The reading of a man's hubris has been supplanted by an interpretation about the tragic condition of man.
This piece seeks to freeze the instant; Icarus is not falling or flying, he is suspended. There is peace in his body as he hurls through the air, a timid smile on his face that gives a visage to resignation. He has wholly accepted his destiny, has become a vessel for it; not a man who has had tragedy befall him, but a manifestation of a prophecy.
La Caduta d'iCaro
Morto, forse; forse tanto vivo;
Beautus ille chi ha baciato il sole;
La memoria sempre lo console,
Penso il suo destino tempestivo.
Cosa fare dopo della gloria?
Come infatti vivere con se?
Dopo il sole, non c’è più perché
Vivere nell’ombra della storia.
Vedo in questa faccia un bel sorriso.
Nella tragedia c’è un tesoro;
Hai trovato (e anche perso) l’oro.
Hai vissuto infine il paradiso.
Tu non hai diritto a alcun rimpianto
Vedi il sole. Tu volasti acanto.
–15 August MMXXII