Alessandro Marziano was born in 1977 in Catanzaro. From 1994, he moved to Rome to study architecture and where he still lives and works.
Son of the painter Giovanni Marziano, he has always painted, the transfer to Rome has allowed him to study from the true masters of Ancient and modern Italian art. The exhibition begins by collaborating with Roman galleries (The lion, Inquadro), with the Galleria Gagliardi of San Gimignano and with the gallery Casa d'arte di Bra (CN).
Currently he has launched a series of exhibitions in Spain, the first European nation to consider realism as "contemporary art", made up of tradition of the trade and innovation of the idea that underlies.
He has collaborated actively with his father's workshop in the realization of the apse mosaic of the Basilica Minore of Squillace (200sqm) and of the mural paintings of the same cathedral.
He is the author of the cycle of black and white works dedicated to the city of New York, works that have given him an international visibility. The last exhibition, in order of time, entitled "Talis Pater", was presented at the Casa d'arte Millet in Catanzaro as the first stage of a series of itinerant exhibitions, testimony to an artistic path parallel with the father. It is these days that the invitation to exhibit in the capital of Tajikistan, in a world-wide resonance event organised by the presidency of the People's Republic of China in collaboration with Tajikistan's counterpart, acquiring the quality of Ambassador of Peace through art.
The solitude of things and the smile of beauty in the painting by Alessandro Marziano
Alessandro Marziano has always been a painter, for genetic heritage and for specific studies, in depth with passion and tenacity, to master the techniques of drawing and painting in oil, pastel, China and watercolor.After a long and careful internship devoted almost exclusively to the pencil, now his works are the expression of a skilful connection between the tradition of "good painting" and the suffered spirit of our time, are the result of a relentless confrontation between Continuity and change. Tradition and innovation are combined as they manage to merge the acute observation of his gaze on the real with the indispensable emotional contribution of his heart. There emerge paintings, of rare and surprising beauty, certainly connectable to the existential realism of Ferroni, bankers, Vespignani, but unique in reading a "hyperreality" of the eye and soul, unique as unique and singular is the emotion that leads the hand of Martian.
His cycle of works, which we could define as "the solitude of things", impeccably clarifies the concept of painting as emotion and truth of objects: a torn cardboard box is the backdrop to a rose held up by a little paper tape; Another rose, preserved as a relic of all the wilted loves, escapes from a letter envelope never sent; Another envelope still (or perhaps the same?) is hanging from a peeling wall and its chiaroscuro alludes to a light source outside the picture. And things no longer depict only themselves. They become other: reality and memory, symbol, metaphor. The feeling of subtle melancholy, which pervades our time, creeps between objects of daily life, between the things of the study and tells the invisible side of the eyes, the other face of the moon: the world seen from the heart… To paint so it is to overcome the modesty to read aloud its secret diary, to entrust to the paintings and to those who will decide to hang them in the house the most intimate sphere of oneself. Martian unfolds all its refinement in the evocation of its "walls": that it is a fragment of floral frieze or a shred of demodé upholstery, arises the disturbing emotion taken from these images, born that poetic opposition, that screeching Dramatic among the crumbling precariousness of things, of the excerpts of dwellings and the inevitable monumental fixity of the form that blocks each fragment and transfigures it in paradigm of an existential situation of marginalization and solitude. In This disturbing iconography we configure the collective history of tales superimposed on tales and together the personal history of those who follow the thread of their memory and the call of their hearts, evoking by degrees or bringing back to the surface Remote images. Without rhetoric, the poetic of the object is overcome by the delicate inner vision, by social sensibility, sometimes simply by the poetic of memory, even if it is a memory of today, a search for documents that will become memory and that live With a complexity of meanings. And Martian, picture after picture, has a dramatic author and at the same time a delicacy by poet elegiac always able to concentrate the action or to elevate to poetry even a pillar of concrete.
In the most recent works, Martian continues to address the theme of compositions with ironically used objects such as metaphor and fragments of commercials, set in mind as jingles that even unwittingly your humming.
At the same time, one never interrupted the study of the details of figures, which tell all the fatigue, the sweat and the tears underlying the final spectacle of a dance step or a gymnastic evolution. As in a kind of imaginary backstage, which does not stop at the appearance, but penetrates the soul and the mind of those who consume, in a representation of a few minutes, years of constant exercise and incessant training, Martian speaks to us of the crowd of thoughts of those who, in Scene, only shows the smile of beauty.