TOWARDS THE HORIZON - MAX MARRA

The work draws on an Informal aesthetic language. The devastation wrought by World War II left a profound mark on Western civilization, which in the visual arts also resulted in an inability to communicate. For some artists, this challenge led to a complete rejection of any visual language, resulting in the birth of Informal Art. The various Informal movements are certainly connected to American Abstract Expressionism, especially with regard to the gestural component, but they go further in their rejection of any figurative element, even geometric. Their research focuses instead on the material from which their works are composed.

Max Marra's informal art develops through a perceptive exercise. He begins by capturing sensory data and reworks it according to his highly personal sensibility. In his works, the interaction between light and space structures the image, in a profound analysis of chromaticism, abstract yet concrete, conducted through rhythmic horizontal or vertical bands or fields, with modulations that are sometimes subtle, halo-like, sometimes intense and gestural. Marra's informal aesthetic is configured as a search for chromatic harmonies and balances. The work is divided into different portions that, through color, offer various stimuli to the viewer, engaging their real dimension. These chromatic harmonies are somewhat reminiscent of the abstract expressionism of an artist like Mark Rothko, but for Max Marra everything takes on a more gestural dimension, with occasional excursions into action painting.

Max Marra was born in Paola, Calabria, in 1950. He moved to Lissone in the 1970s, where he still works today. Since the 1980s, he has focused his research on integrating drawing, painting, and sculpture, using highly communicative materials that combine with the artistic language of the historical avant-garde and resonate with the expressive roots of European art. He has participated in numerous national and international exhibitions, as well as numerous solo exhibitions at public institutions and private galleries. His works are included in prestigious public collections and museums such as the Banca di Credito Cooperativo di Carate Brianza, Lecco branch, the Civica Galleria d'Arte Moderna in Gallarate, the Museo d'Arte Contemporanea in Lissone, the Michetti Museo d'Arte Contemporanea in Francavilla al Mare, the Duta Museum of Arts in Jakarta, Indonesia, and the Museum of Arts in Guanzou, China.

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