Murjoni popped up while on a search for contemporary pottery artists. The goal was to find young, cool, sophisticaed potters that were making the ancient art of pottery hip again. There is something about messages sent via sculpture and pottery that transmit subconscious ideas about power and beauty.

“… three-dimensional works of art have withstood the test of time—literally and figuratively. Materials used to make sculpture, such as stone and bronze, make durable monuments that can withstand the outdoor elements. Moreover, materials like bronze are very costly; monuments made of bronze can establish a society or government’s prosperity and power in the collective minds of generations to come.

Sculpture has been used as a form of human expression since prehistoric times. The earliest known works of sculpture date from around 32,000 B.C. Early man created utilitarian objects that were decorated with sculptural forms. Ancient peoples also created small animal and human figures carved in bone, ivory, or stone for possible spiritual or religious purposes.”

J. Paul Getty Museum

When I found the sculpted head that attracted to me Murjoni, my first thought was Classical Antiquity and the foundation for greco-roman beauty standards.– (Yeah, yeah I know I’m a geek guys. Sheesh.) — Portraits and sculptures were commissioned by powerful people, for powerful people. Sculpture in Ancient Greece and Rome started about depicting the gods, the leaders that believed they were gods, and the dead. Apollo of the Belvedere is the most celebrated sculpture of Classical Antiquity and was believed to uphold the ideal of art. Apollo was the popular Greek god of music, truth, and prophecy.

Apollo of the Belvedere circa AD 120-140 — Highly idealized form of human body; emphasizing an almost unnatural perfection.

Greek sculptors spent eternities fretting over euclidian geometric symmetry. Painstakingly measuring the beauty out one unit at a time. Roman sculptors took that symmetry and set it into motion utilizing new technology in physics and ratios. Roman plazas filled with as many people walking in stone as in flesh.

Power and beauty go hand-in-hand when freezing the human frame in clay or stone. Upholding Apollo of the Belvedere as an ideal standard of beauty created the space for this 21st century artist to redefine reality with her hands and moldable substance. Instead of perfectly rounded, symmetrically smooth stones of imperial privilege; you have the rugged imprints of an ancestry that didn’t rely on ratios for matters of the soul.

Murjoni photographed in her natural habitat!

Murjoni‘s sculptures completely blast the greco-roman framework while still nodding at it’s early predecessor in style and exclamation. Murjoni sculpts people we know from subway cars in DC, country towns in Alabama, or traffic lights in Atlanta.

The rough finishing style of her technique suggests she is sculpting people that have BEEN somewhere before. They are no less powerful. They are no less beautiful. But they aren’t pristine. They are redefining purity and making a strong stance about WHO is powerful and WHAT is power.

Murjoni’s work will continue to be brought up on Herstun throughout the dissection of Beauty! I am always excited to watch her IG and YouTube for new projects and updates. Please ADD her, FOLLOW her, and SUPPORT her!

Credits

Murjoni on Instagram — @mvrjoni

Murjoni on Youtube

Follow Herstun on Instagram for more information on artist worthy of spotlights! — @herstunwild

The J. Paul Getty Museum — About Sculpture in Western Art

Disclaimer: I have skipped a zillion major sculptors in art history to compare Murjoni’s work to greco-roman influences. I hope to continue to add new sculptors to my Table of Creators. This article isn’t intended to be a thorough art history analysis. Rather an observation from one of my areas of expertise — Classical Antiquity.

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