Marco Rindori's Art Manifesto

My poetic expressive one-man show is based on images, on reality, on icons that bears witness to time as agent and as actor.

Objects can have a great evocative power and can freeze moments in memory which we did not believe to have had any importance.
In the same way, some daily gestures unequivocally freeze deed and time, thought and space, beyond the outward appearance of the human figure so similar over the centuries, putting maximum attention on the act and its components, both plastic and material.

Time is defeated when it is used to understand a work, it does not limit attention, it is subordinated and represented precisely in the academic detail, it is used to complete the information: time obeys and does not condition in memory and in the future.
The suggestion of memories, near or far, acts on the emotions’ metabolism and makes them the protagonists in the choice of one’s state of being with which it observes the scene.

Reality, superior to any fantasy in altering the perception of oneself that we observe individually, is like a tessera mosaic and each one having its own weight in the whole composition; the recourse to details and to rigorously classical technique becomes so extreme so representing themselves and their evocative narrative meaning.

Light, like emotion, modifies the vision of a scene and helps me create contrasts of tone and color like musical notes, like a plan in which familiar places and scenes are recognized, like returning to a known image but absent-mindedly forgotten.

If we consider Art as the keeper and witness of time in which it comes to pass, my way of doing art wishes to also pay homage to history and to artistic evolution, considering and using contemporary expressive means that nonetheless, in contrast, celebrate the academic value in tribute to the onlooker’s intelligence and sensitivity.

Artistic currents, with their ebbs and flows, have convinced me even more of the figure’s barycentric position, and the many-sided nature of emotional solutions is surprising that the detail suggests when one is in the presence of an authentic curiosity of discovery, during the dialog with those who have notes and sensibilities common to mine, or even opposite in a spirit of ideal comparison.