Since its opening, Galleria Michela Cattai has focused on the study, research and selection of works of Modern and Contemporary Art and Design by some of the most important artists and designers of the twentieth century and brought them together under one roof.

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© 2016 Galleria Michela Cattai


Franco Marrocco
L’eco del bosco

21 April - 21 May 2016

Franco Marrocco
L’eco del bosco

Galleria Michela Cattai inaugurates its new exhibition space in via Brera 4, Milano with personal works by Franco Marrocco.
The title of the exhibition is “L’eco del bosco”(The echo of the forest).
The research of the painting through various different themes is an essential characteristic of the work of Marrocco. Within these themes, the pictorial cycles can be clearly defined; the artist has developed his own original “colour practice” through a process combining overlapping and glazes. Pierangelo Sequeri has quite rightly summarised this procedure as “the transparent becoming an image in the painting”.
“L’eco del bosco” presents seven recent works of Marrocco. The title of this work could allude to the category (albeit very roughly) of the lyrical abstraction in which a while ago seemed to confine the work of the artist. In reality, Franco Marrocco reflects with almost all of these “transparent” works, also ironically maybe the most essential, the faults attributed to abstraction, and that is the lack of place. The idea that historically accompagnies an abstract image is that it belongs “nowhere”.  For a few decades in Italy, abstraction or its variations have had precisely that connotation, they instead gave place to a continuous cultural background despite having obviously different outcomes. A painting practise which is naturally difficult to frame, which however, is able to fully take the point of view, the look of the image, as noted by Pierangelo Sequeri (who is not coincidentally a theologist and writer rather than art critic or curator). 
In this way, these works by Franco Marrocco show the tracks of a wood, of a real place within an image. They could be defined landscape works, even if the idea and the theme of the landscape were not both at once doomed to be locked into one particular style.
In other words, and without further misunderstandings, it is simply painting.

A catalogue curated by Roberto Casiraghi and a written essay by Martina Corgnati will accompany the work.