The
crisis generated by the opposition between inner dimension and social
reality, by the contrast between "nature" and "culture",
elements of the conscience, is a permanent aspect of the human
condition revealed by the creative work of Marisa Marconi. By
expressing feelings and personal visions, she distills essential
images, messages of urgent inner strength impregnated with passion
and sentiment. From the binomial "essence-existence" comes
the pathos, the substance of her tactile vision. Through a direct
relationship with the body and the use of airbrush she creates the
nude, subject of monochrome paintings full of signs of time and
wear: not just a depersonalized or academic nude but an interior
nudity with anxieties, fears and desires. She creates shrouds, human
images impregnated with breath and sweat, which give sensual and
spiritual emotions. You can get lost in the folds, lost in thought.
In Shroud no. 6, the primordial trace of the hand and the trace of
the body, a living presence, are linked by a fragile thread, the
sense of a time which is both mythical and historical. The
restlessness, the setback which are reflected by the pictorial works
reappear in the sculptured faces and in the modelled bodies: sexless,
timeless and ageless images. The artist, if on the one hand is
spiritually connected to the sculpture of the German expressionist
Käthe Kollwitz and of the French Germaine Richier, on the other hand
makes the Italian sculptural tradition her own: from Donatello to the
work of Arturo Martini and Marino Marini. In the portraits in stone
and wood, works of greater mimesis, the signs of the alienation,
protagonist of the latest works, are already evident. When shaping
plaster, a friable material, Marisa Marconi seems to accentuate the
fragility of "real life" and creates symbols and products
of an elusive and precarious reality. These are works with essential
volumes that evoke the drama of Pompeian casts and denounce a
dissociated and deforming reality, torn apart and agonizing.
