Marco Gastini was born in Turin in 1938. He bases himself on the work of his father, a marble sculptor. He started to paint when the Informale art movement took place which caused his works to be abstract and with a particular colour density. The painting of Marco Gastini evolved more figuratively than materialistically. Around the end of the 1970s he focused on the research of symbols, the spatial presence and absolutely no colour. In these years, the artist experimented with materials like ‘tele spray’ (in 1968, the Turinese gallery in Punto commemorated his work with a personal exhibition), varnishes, sprayed coating on plexiglass, wood, vedril (exhibited at the Salone Annunciata in Milan). In 1970 he experimented with lead stains and antimony. There is also an ambiguous relationship between the material and the painting present in his work and his experience with mother of pearl became very important. In this way, white become both no colour and all of the colours together. In 1977 the John Weber Gallery in New York presented his first personal piece which gave way to numerous collaborations with international galleries. In Italy, the main cities in which he has collaborated are Milan, Brescia, Turin and Rome. Towards the end of the decade the painting became larger than the frame, paper or other support, until the turning point of 1979: he installed lead and antimony in the trunk of a tree. The environmental character became at one with the sensual experience. Marco Gastinicontinues to experiment with new materials such as parchment, glass, metals (rods, iron and tin), coal, wood shavings, beams from the roofs of mountain houses, wooden crates, platform crossings, three-dimensional tables assembled to create a windbreaker.