Mankind on the way

There is a constant harmonious tension in the art of Marco Di Piazza; a deep longing for intangible places of  being not yet transformed into the category of existence. The poetics of Marco is the one of movement, but not movement in a purely spatial dimension. The movement of its figures represents a continuous approaching of frontiers of a future elsewhere, nurtured by a primordial cosmic feeling: the nostalgia for future.

It is the whole mankind that is being implied – rather than represented – in the artist’s figures; the mankind in fieri, in a synchronic evolution of spirit and material, not yet defined in its ultimate form as a consequence of the incessant becoming. The movement is the peculiar feature of this mankind, its own way of approaching being, and it is the pure expression of the universal stimulus to go beyond, to continuously proceed on the possible ways of existence. It is the expression of the evolutionary effort typical to nature, a nature that aims continuously at new and temporary objectives, on the way of a increasingly deep self-consciousness.

All this is evident in the artist’s figures, figures that are never completely defined in their form, they are often only sketched out, almost as if they wanted to express this essential incompleteness of a human being that looks, in its evolutionary impetus, for further stages of its own ability to improve.

This is maybe why Marco, referring to his Gruppo di figure in cammino, quotes Ghandi’s sentence: “No culture can survive if it tries to be exclusive”; precisely because of the fact that culture is a form of expression typical for humans, it is also a part of this everlasting movement.

However, in this universal path, mankind is not intended as an individual in front of its own solipsism – a category dear to our times – but rather as a part of collective destiny with the aim of sharing a dream of a common project of species.

And it is precisely through this mankind on the way that the artist, with his creative attention, leads a continuous dialog in a personal essential style, in which we find a prefect convergence of the expressive needs of art and of the ancient, romantic and contemporary thought, all marvellously merged and metabolized in order to give a voice to silent and remote tensions of the human soul. Looking at works of Marco Di Piazza it comes natural to think about big artists like Klimt or Matisse with his “danse”, however, while Matisse’s figures want to represent a mythical golden era in the dynamic gesture that evokes dancing, Marco Di Piazza’s figures refer to a golden era yet to come, an era which is still a potential and unexpressed strength in the human becoming.

Marco gives a summary of this tension in his art, a summary of this never ending movement, he does so by using codes of expression that are new and archetypal at the same time. He elaborates the still material carrying on the dream of alchemists, willing to give this non-form a dynamic order and to transform it into the purest and most lively thing. Iron, bronze, marble and toile: they grow in the hands of the artist, who consumes the demiurgic ritual of bringing the material from chaos into order, from the indefinite into a form. In his works, it is easy to spot the echoes of the language of the Tradition and its codes: male and female opposing and their synthesis, the process of dignifying the vile material and the repeating of numerical constants that the artist, consciously or unconsciously, accepts in its works.

The human being of Marco Di Piazza is a microcosm in the macrocosm: as a consequence of that, it is participating, through this terrestrial adventure, at the evolutionary destiny of the whole universe.

Mauro Ruggiero
Prague, spring 2011

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