Memoria Guaches

Marco Victor Romano / Memorie Guaches / tempera on paper / site specific installation composed of 6 paper 59,4×42 (cm) each one / 2016

The artist creates the work starting from a Bakelite palette, used for the realization of one of the paintings used in the movie Raphael – The Prince of 3D arts broadcast by Sky Cinema Uno and Arte HD[1]. On this chromatic magma, lively and strident in his accidental combinations, the artist spreads a white paper; with a slight pressure, he performs a hand imprint followed by a tear. The reality is thus memorized through a natural process of recording the instant, caught in the final guache.

The smokiness of the image of Memoria is the result of a condition existing on a palette wooden surface. It is exactly in this separation between immanent reality and “memory” that Romano sinks the roots of his research.

This artwork is an explicit criticism against the Platonic naturalistic conception, which condemned artists, guilty of upsetting the divine perfection of reality in “phantasmagorical lies”. Art was considered a deception. But in this artwork the artifice is reduced to the minimum degree. Thanks to the tearing technique, the material remains the only protagonist. The grip on reality is not intellective, as it becomes a practical act, a gesture. Manual imprinting simulates the concept of “constitution of the conscience” which, in contact with the world, is enriched with information and visions, signs and images[2]. But here, the intervention of the intellect and of the creative intuition are completely absent in the elaboration of the image: in their place, dynamics of physical and chemical nature. The work is no longer a reproduction of reality, but reality itself.

In this artwork, more than in the other ones, Romano’s artistic speculation is pure. The tearing practice is ungovernable, the result punctually unpredictable and irregular. In the artist’s opinion, his reason for being is in the faculty of being able to realize just one concept: the possibility of intercepting and recording contingency according to another profile.

We might ask ourselves: is it possible to grasp forms of autonomous creativity in reality?

Evidently, yes.

In the eyes of a romantic soul, Memoria is the frame of a shining instant, in which the heaviness of materials melts in the glow of a delicate and light vision. Just as in a distant memory we see reality discolouring; a reality that, in it, has become pure feeling.

 

Giovanna Calabrese

Translation curated by Ferri & Ghezzi


[1] Directed by Luca Viotto, the movie Raphael – The prince of 3D arts, was released in Italian Theatres on April 3, 2017, distributed by Nexo Digital

[2] Ref. Cesare Brandi, Sign and Image, Il Saggiatore, Milano 1960.

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