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Marcello Moscara
For those who live in an earthly dimension where problems always appear very
objective, artistic studies like those of Marcello Moscara have an unmistakably
philosophical air about them. Philosophy, man뭩 oldest science in which
intriguing mysteries are examined and studied in search of something that has
not been attained and perhaps cannot be attained and that would require a
tremendous opening of one뭩 own consciousness to take on the dimension of an even
larger challenge. And I say to myself, "it is simple to take on things that
can be resolved immediately. But it is more difficult to accept challenges that
go beyond one뭩 comprehension." But what is the good of art if not to allow
us to approach all this, to indicate potential paths, to make us more aware of
our own vulnerability? More than suspension, the photographs of Marcello
Moscara communicate transition. Using photography, he plays with forms and
perspective to create a new dimension. His bodies, depicted in unnatural poses,
are a clear contradiction if we are not able to perceive beyond them, beyond
appearance, beyond space, beyond the vacuum of physical being, beyond silence.
His sets are places and landscapes that are real, yet not identifiable. The
camera he utilizes is a Mamiya 6x7 telephoto with slide film. He uses digital
techniques only to erase the wooden prop on which the body is suspended. He has
chosen large size prints and he, Marcello, is the subject of the photographs,
but not at all egocentric, rather shy, reserved and enormously pensive. Just
barely thirty, he lived for a few years in Milan where he studied at the
European Institute of Design, but he has now returned to his home in Apulia. And
in this journey, from the big city to his native soil, lies the synthesis of the
artistic tension of his work. His most recent personal was seen in Milan at the
Magrorocca Gallery last spring, with the title "Just a dangling conversation".
by Rosanna Checchi
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