Marco Mazzucconi is a brilliant inventor of forms. Since 1985 he was a recognised promise of the young Italian art.Along with few others of his generation, Marco represents the prototype of the global artist, who has basically erased history to adopt geography, who has finally abdicated the utopian and unrealizable presumption of truth, in favor of a simple "I like it".The body of (new) works presented here is “Essere non qui”(“being not here”). The choice in the order of words makes the reading slow down and convert a "not being here" in something completely different, because it can be divided into "being" and "not here", as well as into "being not" and "here".In both cases, it focuses on the fact of being / being not in a simple reference of a place.Inserted in the frenzy of the modern every-day life, the series refers to a condition of a fleeting pleasure, provoking a desire of temporary isolation through the sheer use of abstraction. Also, it involves the inherent human need to reconnect with the inner soul in relation to what is around. In other words, it explores a new discovery of the self.
BEING NOT HERE
Abstraction expands through a material and unifying process. Unreachable and impenetrable landscapes need to be experienced with the power of estrangement. For the artist, reality becomes a process of imagination full of tensions and poetics of an existential matrix.
A desire to be puzzled, to get lost. Not physically, or chemically. Rather to get lost in an image, a scene, focusing on a tiny detail, a few pixels, and then enlarging it, stretching these pixels to reform an image, a new apparently abstract reality, without focus.I repeat this simple Photoshop process on a canvas stretched on the cylinder of a large lathe, spreading the oil paint in large patches, and then apply the brush in a single very long pass, which thanks to the mechanical movement of the cylinder over time amalgamates the entire surface of the painting and brings me back to the longed-for condition of being not here
THE OBJECTIVITY OF SUBJECTIVITY
For Mazzucconi the functioning of art is not guaranteed by his own subjectivity - which we see disappearing behind a "cold" and often ironic realization, as in the series of "Informal seen by man and seen by dog", or "Color blind and illiterate ”- but from the transformation of this subjectivity itself into the objectivity of linguistic relations.
[...] These relationships [...] from casual or individual or sentimental, become ganglia of meaning, because the complexity of our system of relationships “surely” allows us to link elements that have arisen and approached only by chance.
Marco Meneguzzo, October 1989, Milan
THE DYNAMIC MOVEMENT OF SURFACES
The total elimination of the artistic experience undertaken by Castellani, Bonalumi and Manzoni is accompanied in an unconscious and unconscious way by Marco Mazzucconi, who, starting from the mid-1980s, decided to intuitively start a path of study and analysis of the infinite potential provided by the extroflection of the canvas.
The use of baroque frames, wooden structures and more recently polyurethane foam inserted behind monochrome canvases has allowed the artist to again unbalance the relationship between support and surface and to create new and unprecedented effects of light and shadows depending on the inclination of the light source.
«My interest in white is tangential. I touch it without deepening it. The white painter's canvases stretched on baroque frames, and more recently stretched on frames with skewed geometry are works that allow us to imagine a different story from that which the original idea might suggest ».
CHANCES FOR MASTERPIECES
A "chance" is a possibility. In the "chances for masterpieces" the materials are given for the eventual masterpiece (or even just for the work) and implies a certain roughness of theirs that must be worked out mentally to access the eventuality of the masterpiece. However this always remains a possibility, never a certainty.
([...] basically a possibility remains in the universe of the hypothetical and perhaps the indeterminate, its presentation is a gamble, not its solution, which does not exist).
Marco Meneguzzo, October 1989, Milan
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