Twenty-one sculptures in all, sixteen of which have been forged in those jumbo-sized dimensions that are the main speciality of Mitoraj's aesthetic language and by which they are rendered quite unmistakable.
For many of the subjects, the artist necessarily draws on the classic repertory, except for his uninhibited and conciliatory incursions into the Egypt of the Pharaohs or into the Buddhist Orient ('...I have sought to collect a fragment of that which seems to be the mystic communion between Egypt, Greece and the far East..'). Mitoraj assuredly does not scruple to harness a varied array of heroes from other times and places: the artist himself helps us to identify Eros, Tyndareus, Aegeus, Icarus and Hadrian; but how are we to recognise the swathed busts with no faces, the blindfolded heads or the sculptural fragments?
Leavig aside the subjects themselves and their size , it is the monumentality that celebrates the metahistoric dimension of the Ancient World, sometimes without renouncing precise formal reference. As in the work per Adriano, For Hadrian, a two-and-a-half the giant hand of Constantine preserved in the how Per Adriano anticipated the recent finding of
the colossal head of constantine at the Forums in Rome. It has been noted how in Mitoraj the poetics of the fragment 'constitute an aestthetic paradox: the beauty of perfectionagainst that of the destruction worked by time...allusion to a past perfection of impressive size 'which suggests' ...the futility of the aspirations of the human mortal' (J.Putnam).
