Roberto Savi_en - marco minguzzi

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The fossilization of the image

By Roberto Savi, April 3 oct, 2006


It is not uncommon for a careful observer to spot within the surface of Marco
Minguzzi's paintings, the sedimentation of remnante or signs of man's visual
experience. The examiner of the images' layers created by the artist can discover
symbols and parlances belonging to contemporary society.

This discovery, also possible also at an amateur's level, shows how images
Representing our most celebrated visual universe, tooks hapeat the sea bottom and
Were brought to their actual position by later, sociological events.

The aim of the images' fossilization is also to rebuild -together with man's visual
family tree -the complex movement of contemporary man as it joins together and
separates over and over again. Like mountains rising from the ocean then retuming to
their seas in the shape of tiny debris, each part of the image, every fossilized fragment,
is tangible evidence of the present-age. In this way, the work of the observer brings
unpredictable findings.

Our contemporary time encourages the beginning of the disappearance of some
communication forms among all groups within society. The disappearance indicates
that the social conditions assuring the existence of the current communication
forms may change suddenly. And the vanishing of language forms, undisputed
dominators of a whole era, allows the success of new forms among which the firt are
undoubtedly data transmission and virtual ones.

But the observer's work is not finished yet. Especially at the origin of new
Communication forms and their evolution are the actual. artistic studies that become
more and more frequent; every new discovery seems to question theories that were
considered permanently consolidated.

Marco Minguzzi's oeuvres completely examine the study methods utilized in this
exciting image research,and thanks to extremely, visionary compositions-rich in
information and data-they acquaint the public with the results achieved affer several

The figuration is a constant feature in the artist's production, even when it seems to
Distance itself under the strokes of the image management or reduce itself to a next-to nothing
composition, apparently brut, and also when the figuration transfoms itself in
theatre or emancipates itself from traditional supports in order to be applied to all that is
materially applicable. Marco Minguzzi's figurative analogicum still forms an
indispensabile communication ground for those who do not urant to close themselves in
the artistic, elitist autism accessibleonly to critics; this analogy is a fundamental too lin
determining the relationship between writing and painting, between vision and emotion,
instinct and reason, conscious and unconscious, all in puruit of a lost, expressive

It is not by chance that Marco Minguzzi's approach to the possibilities of
Communication and language represented by technology in art stems from a careful
Obse Nation of the society, where-among its members -new language and Communication forms exist.

Poetics emerging from Marco Minguzzi's oeuvre is a study of the fragment where
The image, inserted in the context of the painting surface, splits itself due to the action
of the different language and communication possibilities covering the space and being
the metaphor of our present.

It is a wholly existential and dynamic fepresentation, like becoming aware of a
critical and seff-critical view, which becomes a persistent dialogue with the compositive
result, thanks to the choice of familiar subjects that leads towards other paths, towards
other attention and attraction hunters.

Everyday images assume different values in a visionary frame able to catch multiple
Horizons while imprisoning the languages. lmages that in a metaphoric –lexical variant
transmute in the Tower of Babel the practical uselessness of the images'
Everyday use once considered useful. And the images, animated by their own lives,
dodge this kind of passive violence. lt is rebellion; it is the salvational reaction of the
images, conscious of their disharmonic role, splitting into two parts, multiplying
themselves in the languages and communication forms, creating a situation of primeval
chaos: the ancestral mother of all languages, of the human and inhuman.

The image, so built and interiorized, is the consultation ground that gives no more
support and freesall language forms to reach its goal, to accomplish the will to break
up in the fragment of confusion -or syncretism -of those who, receiving the message,
partecipate in the sense of disorientation and dismay of our age, characterized by the
lack of boundaries.

The painting comes to life as a consequence of the parallel developmentof the
image that the artist manages and will create: on one side the visual plane inserting in
the context an image that is extrapolated and reclaimed from the virtual universe; on
the other side, the language plane, inserting an elaborate mass of letters and figures
that are nothing else than the very same visual image portrayed with another form of
communication, in this specific case, a computer language. lt seems almost to affirm
one of the seven, hermetic principles of the Kybalion, the conespondence principle:
-\A/hat is above is like what is beneath'.

Marco Minguzzi focuses on the elaboration of iconic figures, of the alphabet's letters
and numbers in a set of machine language codes that refer to the technological
subculture of the present-age, but reveal the effort in leaming, symbol of the artist's
wish to integrate and be understood by the society.

These works present the artist's abundantand poetic sensibilità that identifies his
life and his art, both leaning toward the search of a deep awareness and meaning.
They are compositions having an intense, expressive strength in which the color -not
by chance black and white-blurs and almost erases the machine language, peculiar
of its' visual language'.This is an angedin a repetitious and ordered manner, like an
obsessive litany, expressing the mood of the artist: lost and restless, trying to give
shape and order to his angst.

There is no concession to any fashion in Minguzzi's language, so sensible to the
Contemporary age. Otherwise, why entrust one's soul to the narration of the images?
They make present the past, actuality there membrance. And maybe, considering the
Present trends of contemporary art, this is the most lucid and not eworthy contribution
that Marco Minguzzi offered us, being much more far-eeeingthan many of his fellow
painters who were dazzled by an easy way to achieve success.

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