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Atopia - Culture and Art Magazine "Gegenbewegung - Überlegungen zur Kunst von Mauro
de Martino“ "Contromovimenti - Riflessioni
sull'arte di Mauro de Martino” (Jan Fusek) July 2004
Emanuele Alloa
" Mauro de Martino Feritoie dell’aura" - June 2004 (italiano)
Vano Allsalu "Mauro De Martino NÄGU"-
KUNSTIKESKUS.EE - June 2004 (estonian) Bohème Magazine Online
March 2004:
Volume I, Issue 11 (english) Double Dare Press Monthly magazine. Issue #22 February 2004 (english) Silvia Sfrecola Operazione contemporanea- Latina
/ Velletri. Gennaio 2004 (english) Silvia Sfrecola "Contemporanea 1945 - 2003". "Mauro De Martino".
Presentazione Mostra collettiva Palazzo M -Latina 8/30. Marzo 2003. Chiara Barbato "Mauro De Martino". Gennaio 2003. Marco Bersanetti "Linguaggi". Presentazione Personale Biblioteca Comunale Pontinia. 16 Dicembre
2000 / 6 gennaio 2001. Fabio Francione "Da terra". Ideazione e Progetto Fabio Francione. Presentazione Mostra collettiva Carraro Painter House Milano
7/20 Marzo 1994. Viviana Gravano Presentazione mostra personale Galleria Bianco Oro. Roma 22 Gennaio
/ 1 Febbraio 1992. Cecilia Casorati "Il linguaggio de-costruttivo di Mauro De Martino"
Presentazione Personale Villa Aldrovandi Mazzacorati. Bologna
1/ 20 Dicembre 1990. Michele Cossyro "Mauro De Martino" Presentazione Personale Centro Di
Sarro. Roma 9 /27 Gennaio1990. Latina Oggi 24 gennaio 2004 p.12 - "Operazione Contemporanea"
Mauro De Martino. Il Tempo 23 gennaio 2004 - p.35 - "De Martino". Latina Oggi 5 gennaio 2003 p.10 - "Le ombre figurate di
Mauro De Martino". Proposte - anno IV n. 5 p.13. |
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2007 Nov-dec La casa del critico - Velletri (ROMA) - group
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Get Underground
Pennysweet
Tangents
This is it magazine
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I am generally attracted by the painting of those who
do not know how to paint. I am interested not so much in the result
or style of their work but in their inexperience, the fact of not having
the least idea of how to go about their work. Therefore, every time I start a painting I try and
re-create this condition. Without having any initial idea or project I alternate
between intuitive phases and rational intervention. In this way the elaboration of a painting is enriched
by the unforeseen which makes the end result ever less predictable. I do not use valuable colours, my materials are reduced
to a minimum and my painting tools are often improvised in order to
be forced to continually find new solutions with which to continue the
work. I like these signs to be evident, I want the mistakes
and reconsiderations to show. The wooden tablet on which I apply my colours is an
integral part of the painting and it is often scratched, engraved, grazed.
Apart from increasing the expressive force of the painting,
this also emphasises the corporeity of the painting, its physical presence,
the material and non narrative or idealized aspect of my work. My research is in part due to a process of subtraction,
because I believe that it is not important to know exactly what one
is creating in Art, but it is essential to know what needs to be taken
away and avoided. Even if figurative elements are present in my paintings,
I intend to represent reality, not through images which make up its
surrogate but through the painting itself. The reality I am interested in is not isolated from
the world, it is not abstraction. If there is a visionary component, it is not found
somewhere else, in idealized places, but it is part of the reality itself,
captured in its totality and without any simplifying screens.
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