The War Of MABUS - The Modern Art Robot - 2

lizadreams says:
I like this !

What a surprise… She likes my process. This is the typical behavior of modern art robots: pointing out some gestures and fragments of material that looks unusual. What a jerk. Did she ever stop to think about the desperate search of the new imposed by today's unique view of art?

People don't get my art because of the forgotten visual science of my time. My understanding of the world is complete different. Although I'm living in today's world, the art experience that guides my hands comes from my first life. When the need to express the transcendence of the human figure was the main aspect of every representation. It was virtually impossible to separate the teological from the classical issue. The christian stories were the ultimate human expression and the images of the classical past was a mystery to be recovered.
So how can I explain to modern art robots what was my intentions on this colored study for a Sacred Family?
I made this drawing using a white chalk to think the composition one more time. The colors were a quick option to make a 3D ilusion.

The War Of MABUS - The Modern Art Robot - 1

This woman, lizadreams, is the typical modern art robot.
She was the first retarded to attack me. The way she tried to point out a lack of divinity on my work would be funny, but it's just human stupidity in its normal scale.
My reply was polite. I though she would debate with me.
But how could a debate occur when the concerning aspect of discussion is some divine quality that she saw on my Italian drawings? I could show to her many Italian drawings so bad executed that I do not recognize these drawings as having been made by me.

lizadreams says:
Your drawings are good..great, but something is missing. You are still a great artist, far better than I'll ever be, but you're no M.Angelo. M.Agelo's work had divine beauty in the most simple sketches and even in the ugliest figures and portraits.

MichelAngelo▲ says:
You are wrong, lizadreams.
I'm MichelAngelo.
You just can't admit it to yourself because you envy me.
If you knew a little about the art of sculpting you would understand my geometric language of the male nude.
That's what proved my identity to myself, 18 years after the remembering of Vittoria's death.
That's what I'm going to expose to everybody.
But you can't even know what I'm talking about because there's nothing in books about my spatial reconstruction of the human anatomy.
What a pity.
What do you mean about divine beauty?
Could you give me an example?
That sounds to me like pure fetish.
Keep your fetish on ancient art to yourself, OK?
Just an information: this drawing was made in 1985.

Português:
Essa mulher, lizadreams, é o típico robô da arte moderna. Apesar de ser uma boçal, eu acho que vale a pena postar a opinião dela.
Essa colocação dela, de que o meu desenho não possui a qualidade divina dos meus desenhos italianos, seria motivo de riso não fosse apenas expressão da estupidez humana mais comum.
A atitude incondicional de ver o divino em rabisco antigo é típica de turista deslumbrado com aquilo que sequer entende a natureza. O problema é que há desenhos atribuídos a mim que eu não os reconheço como sendo meus. Alguns porque são simplesmente toscos e outros por estranheza em relação à construção visual. E ela acha tudo "divino". PQP… Mas eu sabia que encontraria retardadas desse gênero assim que abrisse a minha história.

More than one year presenting myself: the reactions - 3

There's an important point that people are not getting about my attitude and it reveals the automatism of some reactions. Why I'm not presenting myself with my "real" name: Carlos Eurico Poggi. Why is that? Let me explain it once and for all:
I have already did it. I was in my early thirties and I was trying to build up a normal life.
When the supernatural experience was on during the period of 1979 to 1991, I hid everything. After that, I presented myself formally as "Carlos Eurico Poggi" in every professional opportunity, from 1992 to 2007. I tested all types of normal bios about me. I wasted time and money inventing lots of explanation just to cover up the real story behind me. The result was awful. The misunderstandings on my artistic goal was impossible to solve.
So it's easy to see that I'm not a weird newcomer trying to call attention. I have all that fake portfolios to prove what I'm writing here.
The situations I faced was so terrible that I had decided to give up my classic art as a way to survive. And I was doing fine as a contemporary artist. Once again I have all the images to prove what I'm telling.
The main reason behind my choice to reveal my story and present myself as MichelAngelo BuonaRoti (something that the majority of you will not understand) is the spiritual duty behind it.
I do not want to convince anybody about nothing. I don't even like what I'm doing. I just know I have to do it. I hate what happened to me from 1979 to 1991. I hate having to explain it. So it's not easy to get my intentions and the anger and aggressiveness that come with it. It's the only thing left to me to do with all that crap of being MichelAngelo: to take revenge on stupid people. And I will not have any mercy with these trashes.
After all those years being attacked by the stupidity of the "normal" ones, now it's my turn to strike back. And I will do this FOREVER, until my last day in this doomed life.

More than one year presenting myself: the reactions - 2

Before start posting and pointing out who are the people that attacked me until now, there some aspects of my nowadays situation that I have to explain:
First of all, none brazilian wrote a single word to me that I have to respond in a agressive way. The reason is simple: my documentary film. Altough I exposed a very summarized version of what I lived in the 80's and 90's, the lack of language barrier is enough to reveal the emotion behind my todays attitude. The communication is complete.
The second aspect of my brazilians compatriots that I'm going to point out however maybe be sounds as a bad comment on their behavior: modern brazilian culture don't give a shit about antique european art. To be more accurate on my criticism, the european legacy is seen by educated brazilians as something to be vanish in the name of the pure brazilian identity in art. Cutting short: they don't see any meaning in some weird guy claiming to be the original Michelangelo. For brazilians, the italian renaissance is just a part of History and a good theme to be explored in the next vacation. Nothing more.
The only people that I always have noticed an unrestrained interest on my art work through all these years are the americans. The american passion about the italian renaissance can be verified easily just observing which are the most viewed productions on the cable TV etc.
And there was no surprise when I saw the first person to write to me just two days of presenting me as Michelangelo: an american. When I read his email asking me "Hi Michelangelo! Do you have plans for a new afresco painting?" I tought he was joking, but he was not!
I think also that the sci-fi culture in the US helps a lot on attracting attention to my situation in life. In fact the only three people that attacked me until now are americans because the passion about Michelangelo, and the passion about antique art. For them, the americans, the misterious of the italian renaissance is sacred, for them, it's the art that really matters.

More than one year presenting myself: the reactions - 1

Since I started presenting myself as Michelangelo himself, the most weird reaction was the inverse identification of my art.
During the 90's, when I was looking for a living with my art and presenting me as Eurico Poggi, I spent more than 10 years hearing the same crap: "Hey! All your pieces are from Michelangelo! Don't you have anything created by you?" This judgment of any photo of my art work was so automatic that I found myself trying everything to erase my Michelangelo's style. I needed to be accepted as an artist. And the only solution was to completely avoid drawing and sculpting.
But 2007 came and I realized that there would be no solution to my life without exposing my secret personal story. By the end of 2008, after the release of my documentary film "Icarus, Contemplation & Dream", when I finally presented my art work with the true context that generated it, I understood that I had to present myself as the original Michelangelo. And I came to the internet and changed all my profiles wherever I have one.
What a surprise. As a "lunatic" claiming to be the famous italian renaissance artist, for the first time in my life I met people that don't even think my art being close to the works of Michelangelo. Why is that? Do you know why? I know the explanation to this twisted reaction to my art.
But… beyond this politics of ego recognition, I saw that the best way to create a dialogue between me and people in general, and spread my personal story, is to be attacked. Yeah! I have to be attacked! And I love to strike back!
The next posts I will show the only three attacks I have suffered until now. My intention is to start a war, any kind of war, but none of my "enemies" didn't respond to my verbal retaliation. It's very disappointing, but I still have a great hope to have a huge argument with someone with balls to do so.

The Ecstasy And The Agony

The Ecstasy And The Agony, originally uploaded by MichelAngelo▲.

Study for Ecstasy & Agony. Pencil on paper. 1990-94.
Estudo para Êxtase e Agonia. Lápis sobre papel.1990-94.
Probably this drawing was my last attempt to find a solution to these two twisted body in a spiral like movement.

The Ecstasy And The Agony - Detail

The Ecstasy And The Agony - Detail, originally uploaded by MichelAngelo▲.

Study for Ecstasy & Agony. Pencil on paper. 1990-94.
Estudo para Êxtase e Agonia. Lápis sobre papel.1990-94.
When I finished this drawing I finaly became aware of how the Ectasy's legs should be connected with Agony's body.