Artists | ITALY & PARIS Marcello “Simplicity is simply hard to reach.”
The technique: The new sculptures, exhibited at Galerie Pièce Unique in Paris, are made of rubber and a special elastic paint which is able to roll up, as if squeezed out of a tube of paint.
The form: Like Renata Caragliano e Stella Cervasio notice, the molded forms “are, like one can say, post-lunar… real plastic constructions that occupy a measured space.” In certain sculptures, there is no comparison with nature. The spirals and the concentric and/or threadlike forms arouse a desire to touch, a need to discover the mystery of their fascination. At the opposite end, in other works, the forms are organic and particularly drawn from nature, such as coast profiles, islands, cliffs or architectural elements.
“Create a shape without borders…I am light.”
The influence of the territory: Some works are inspired from the region where the artist was born: Campania. The profiles of Capri and Sorrento make clear the connection between the Neapolitan artist and the country where he was born.
The binomial lightness-concreteness: The works, all rigorously white and suspended from earth or on the wall, are light and aerial, but at the same time concrete - it is as if they contain, in themselves, a very peculiar space and a balance of their
Cinque Galerie Piece Unique
&
In order to describe Marcello Cinque’s sculptures it is useful to divide the discourse in four main thematics: The technique, the form, the influence of the territory and the binomial lightness-concreteness.
own. Therefore, it is almost spontaneous to associate the work of this young artist with the ones of Italian masters of the 60’s, like Lucio Fontana, Piero Manzoni, Pino Pascali and Gino de Dominicis. These important artists, although very different one from the other, have all continuously researched space and form. And in fact, that is exactly why Marcello Cinque fascinates: His willingness, and capability, to experiment with new materials and new forms.
Page 1 |
Page 2 |
Page 3 |
Page 4 |
Page 5 |
Page 6 |
Page 7 |
Page 8 |
Page 9 |
Page 10 |
Page 11 |
Page 12 |
Page 13 |
Page 14 |
Page 15 |
Page 16 |
Page 17 |
Page 18 |
Page 19 |
Page 20 |
Page 21 |
Page 22 |
Page 23 |
Page 24 |
Page 25 |
Page 26 |
Page 27 |
Page 28 |
Page 29 |
Page 30 |
Page 31 |
Page 32 |
Page 33 |
Page 34 |
Page 35 |
Page 36 |
Page 37 |
Page 38 |
Page 39 |
Page 40 |
Page 41 |
Page 42 |
Page 43 |
Page 44 |
Page 45 |
Page 46 |
Page 47 |
Page 48 |
Page 49 |
Page 50 |
Page 51 |
Page 52 |
Page 53 |
Page 54 |
Page 55 |
Page 56 |
Page 57 |
Page 58 |
Page 59 |
Page 60 |
Page 61 |
Page 62 |
Page 63 |
Page 64 |
Page 65 |
Page 66 |
Page 67 |
Page 68 |
Page 69 |
Page 70 |
Page 71 |
Page 72 |
Page 73 |
Page 74 |
Page 75 |
Page 76 |
Page 77 |
Page 78 |
Page 79 |
Page 80