Saturday, October 26, 2013

Dante's Inferno in Legos..

I don't think y'all are ready for this. Romanian artist Mihai Mihu spent SEVEN months recreating the nine circles of Hell from the Divine Comedy. He used almost 40,000 legos. Essentially, I now idealize him. 
Here's some of my favorites. 
Circle IV (Prodigal and Miserly)

Circle V (Innocent) 
Circle VII (Violence) 

Circle VIII (Fraudulence) 

All of these pieces represent modern interpretations of The Divine Comedy, as opposed to the visual art pieces we looked at from Blake, Dore, ect. I think it also proves the timelessness of The Divine Comedy, and literature in general, just like we see from Sam's post about iDante. I think it's amazing how contemporary artists draw inspiration from artist from previous generations, like how Mihu is representing Dante's work through modern techniques (lego building). It makes me wonder if students of the future will be interpreting Mihu's collection in regards to Dante's work, just as we've done with Dore and Blake. It's funny to think that is a couple hundred years legos will be a thing of the past and contemporary to them will be like holograms or something cooler. 


Amy Clement said...

These lego renditions are definitely awesome. However, they are definitely different than the mental picture I had while reading the Inferno. I learned from seeing all of the pieces during the project and from the various blog posts that the Inferno can be interpreted in so many different ways. Dante described a Hell with enough structure to seem real while allowing the reader to create her own image in her head. Every portrayal from Dali to Lego to iDante emphasizes a different aspect and the cumulative collection creates endless dimensions to Dante's work.

Joseph D'Amico said...

Even if it isn't a very faithful representation of Dante's Inferno, it is still nice to see that classical literature has influence in today's world. I also agree with Amy that there are so many ways to depict the Inferno, and it's really awesome to see all of the different representations.