Original Cosmopolitanism (Sabrina Falzone)

The allegorical universe of Marco Salvatore Mallamaci between political, theological and philosophical insinuation

Internationally acclaimed artist and missionary of art, Marco went to the Orient after a number of cultural pilgrimages that helped him become the most famous foreign contemporary painter in China today.

The artist’s cosmopolitanism lies in the intricate mosaic of his worldly experience, which begins with his Italian origins and extends to include his “mission” in China as well as encompassing his trips to Africa and America: all precious experiences that have provided a solid foundation for his rich artistic career.

Marco is a citizen of the world and with his original artistic work, he has diffused a heartfelt message of peace and brotherhood throughout China in a time when the world seems to reflect a macabre scene of deep internal conflict. He is the new “Savior” of Art and his paintings are filled with the sacred ideals of love and tolerance, which aspire to save the modern world, not so much from sin but from injustice. His paintings decry the absurdity of war and human destruction with heartbreaking awareness, but they also sing the 21st century’s “joie de vivre” directing it towards hope, optimism and trust in humankind.

His subjects are filled with tormented existentialism and they reveal the anguish of today’s political vicissitudes, philosophical reflections, religious beliefs, aesthetic considerations and even the ideal of universal love, all with extreme intellectual acumen.

His artistic language gains substance with the transfer of his own ideological convictions onto canvas in a sublime union of reason and emotion that is inherent in all his creations: “reason” is, in fact, the primary driver of the sentimental and emotional path that the artist has taken on his idealistic voyage to discover the intimate essence of painting.

Marco had a taste of fame with the presentation of a unique work entitled “Latin America: The General U$ed”, which deals with the destruction of war, dressing that cutting controversy in sharp irony. It provokes people to reflect on the geo-political and economic interests that give rise to war and even though the piece dates back to the Eighties, the canvas is extremely current and relevant today.

“Latin America” has a bloody tone, while “Africa”, painted in 2005, is enveloped by a macabre restlessness with depictions of crosses all over the continent commemorating the millions who have died from malnutrition, war and disease.  The colors used in the work are anything except macabre and they provide a tone of colorful vivacity to the work that reflects the joyous spirit of the African people.

His work “Greedy Britain”, is animated like a cartoon that seems intent on swallowing Ireland in an obvious wish to overpower it.

“Cheery Italy” is an opulent and licentious parody of Goya’s art with the Italian flag draped over an erotically shaped Italy, while Sardinia is represented by a bottle of wine and Sicily by an orange ball. It is a comic portrayal of Italy demonstrating the difference between the prosperous North and Southern hardships and backwardness by representing a miniaturized South that is overshadowed by wellbeing.

The artist delves into the Christ theme with “Jesus Christus” and in “CruciJesus”, where Christ’s gaze is hidden from view, forcing one to constantly search for it across the entire surface of the canvas.

The “Praying Pilgrim meets … the Moon”, an enigmatic and impenetrable piece, is enveloped in a philosophical tone.

At the end of the 1980’s, a change can be noticed in the artist’s work and it is evident in "Tempus Fugit: Metamorphosis of Beauty”, where the delicate theme of vanitas is developed: the mystery of beauty and of time that passes ruthlessly on a discovery of the passage from beauty to its relentless decline. In “Panta rei”, the healthy and inviting body of the young woman contrasts her dull wrinkled face and aging features. The tragedy of life’s transience is enhanced by the bright tones of a green cloak enveloping the shape, like a premonition of death.

In place of the traditional still life, Marco created a series of paintings dedicated to “live life” such as “Candelabbra”, “The Pear” and "Ornamental Vase", which clearly pay homage to the female figure. These pieces highlight not only the elegance of the shapely and sinuous female body; they also highlight internal qualities such as moral determination, honesty and having a healthy spirit.

In the artist’s poetic universe, woman becomes a symbol for virtue in contrast with the insistent vice of man. It is from here that a more sullen vision of men arises. Man is depicted negatively, first as a foolish politician, then as a lurid boss.  “The Oscarine” is also exemplary of this point of view, with a female version of the Oscar Nominations. The harmonious shapes of nature repeatedly take on feminine features in the painter’s imagination: one example of this can be seen in his work “Similitudes”.

The importance of the visual layout, the semantic playfulness of the artist’s poetry, his desire to surprise, play with and make fun of traditional art, revolutionize iconographic parameters making this Italian painter a forerunner of a Neo-Existentialist Symbolism for the 21st century.

The modulation of matter, the stylistic orientation and the lean style of the artist offer a message that is never redundant, reminding us that pictorial significance dominates over rigid lexical structure adapting with a new, simple and linear structure that is filled with almost elementary symbols. This art, despite its sobriety, bears the noble messages of Peace and Love. To the artist, using special Baroque effects is not important. That is why he prefers the simplicity and expressiveness of his own artistic language, without ever refusing a slightly mocking tone.

The artist’s synthesis of style is engraved in the history of Chinese art with an anti-academic vision of image and decidedly non-conformist portrayals.

The entrance and notoriety of this Italian artist in China has enriched a fervent cultural exchange that blends Western European and Oriental artistic studies, accepting their inherent expressive values and finding an ideal continuity between the two. In Marco’s case, art becomes an instrument for intercontinental dialogue and communication between Italy and China. Images become an emotional driver not only bringing the two countries together, but also creating dialogue between two civilizations that are geographically distant from one another.

What remains to be discussed is what it is about Marco’s art that created so much Chinese interest and made him such an undeniable success.

Since Deng Xiaoping opened China to the Western world, the country has shown increasing interest in western art. All of Marco's paintings provoke great attention because he puts a strong accent on telling a story that is always exciting and at the same time different. He creates unique color combinations and uses sui generis techniques, which differ from both contemporary Chinese artists and foreign artists with exhibits in China.

On this note it is worth mentioning one of Marco's masterpieces, "Celestial Empire: The Bull of the Third Millennium", where China is represented  by a bull, which symbolizes power and strength, portraying China’s economic recovery and return to being a leader in world economy.

The artist’s work, remnants of recent symbolic and surreal experiences, is reminiscent of the style of Matisse with vague hints of some of Magritte's famous works.

His universe unravels with the free use of allusive colors: in his artistic expressions warm and orange tones calmly alternate between colder, harsher tones, where the extensive use of monochromatic brush strokes create a suspended atmosphere that is mute in its iconological eloquence. He frequently uses colors that have no similarity to reality as a means for transmitting feelings and emotions.

Though “Apocalypse” and “Decollated on His Way to Damascus” are wildly passionate, most of Marco’s artistic corpus is much more peaceful, almost unnaturally calm with softer techniques, like a prelude to world peace.

The revolutionary importance of Marco’s art is particularly evident in “Add your Signature!” which contemplates a request that is impossible to fulfill, and in “Penelope’s Canvas”, both of them incredibly original in their incompleteness. The canvas were purposely left blank by the artist, who promises to color them as soon as Penelope finishes weaving them: there are two as the largest one is for Ulysses while the other much smaller one is for her suitors.

Analyzing the artist’s work is very complex due to the quantity of meanings that are knowingly hidden in the allegorical mysteries of his canvas, which can easily provoke different critical interpretations. It is a new chromatic symbolism that is gaining ground in the winding path of Mallamaci’s work.

In October 2004, with about thirty years of experience in oil painting, he was awarded the Golden Prize during the International Art Exhibit in Beijing.

From 2003 to 2005 Marco was counted among the artists who participated in the most prestigious world exhibits such as the International Art Biennial in Beijing and the International Art Exhibit in Canton, just to cite a few.

This year, the “Poet of the cosmos” will participate in the Contemporary Art Biennial in Florence, which is at its 6th Edition and will be held from December 1st to the 9th 2007 in the panoramic Fortezza da Basso.

Marco’s next Italian exhibit is scheduled for November 2007 (from the 17th to the 30th) with his special participation at the International Art Exhibit entitled “Eastern Impressions”, which will be held at the Ars Habitat in Genoa’s historic center, inside the prestigious sixteenth century Ratto-Picasso palace belonging to the Spinola noble family.

Written by Sabrina Falzone

http://www.sabrinafalzone.info/

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