"Rediscovered papers", solo show by Nicola Marotta in Alghero
The exhibition at the Bonaire Contemporanea gallery
Per restare aggiornato entra nel nostro canale Whatsapp
On Friday 26 May at 7 pm the Bonaire Contemporanea gallery (in via Principe Umberto, 39 in Alghero), inaugurates the first appointment of the Segreti contemporary art review with " Carte ritrovate", a solo show by Nicola Marotta . The artist, born in Brusciano (Naples) in 1936, completed his teaching studies at the State Institute of Naples, painting section.
Subsequently he attended partial courses in sculpture, painting and nude at the Academy of Fine Arts in the same city. In 1962 he moved to Alghero where he currently works.
The architect Antonello Marotta of the University of Sassari says of him: «Since his early youth Nicola Marotta absorbed the Greco-Roman culture which, being a Campanian, derived from the city and the territory in which he lived and studied: Naples and the Vesuvian villages . In the first training, in the fifties and sixties, he learned a way of looking at the past with new eyes, through a modern conception, grafted onto an older tradition. This new awareness became a filter through which to embark on his artistic future. Over time, the formative culture has decanted itself to such an extent that only the pictorial values remain alive, beyond the objective story of Western painting. In the mid-fifties Nicola Marotta got to know the national and international avant-gardes, combining the most vivid experiences of the twentieth century with the passion for the stratified world of our past, working on the gaps in the Pompeian frescoes. On this line of heroic and existential, archaic and contemporary time, he has traced his own personal story in which existences hover suspended in the sky of history: icons of a mental landscape and a social geography. In his work he has narrated our time, as the sum of several cultural registers, inexorably superimposed in the existential labyrinths. He preferred the pre-humanistic composition, that of the absence of perspective, which allowed him a composition free from objective and descriptive conditioning, in favor of a timeless and conceptual story».
