Marco Nereo Rotelli - Here is the passage

Marco Nereo Rotelli's work draws on several typical contemporary art themes developed in the 1960s and 1970s, which he revitalizes with a fresh new interpretation. His artistic language primarily draws on what are commonly called "Poetics of the Object," sometimes employing non-traditional pictorial supports. These supports often consist of mirrored surfaces, drawing on Michelangelo Pistoletto's exploration of the integration of external reality within the work. But in the aesthetic developed by Marco Nereo Rotelli, the written word is the central theme. The artist, as in his predecessors, such as Emilio Isgrò and Alighiero Boetti, renders the significant constituent elements of the artwork, but according to his own distinctive style, which also embraces Informalism and, above all, its connection with poetry.

In this work, too, we can see how different aesthetics and visual languages ​​overlap in Marco Nereo Rotelli's work. The written word, as usual, is a key element, and in Rotelli it takes on a gestural rather than a symbolic meaning. The words the artist writes on the painting, in fact, are not defined characters, legible words. In the sentence quoted by Rotelli, we sense the power of the pictorial gesture and a certain hermeticism suggested precisely by the incommunicability of those words, born from such an intimate and personal act. The concept of Hermeticism, approached from a specifically literary perspective, shows us the close connection between Rotelli's pictorial gesture and poetry. Meanwhile, the theme of incommunicability suggests how his work is inextricably linked to an informal aesthetic. In this specific work, the artist stages a comparison between the word of the pictorial/poetic gesture and the word reproduced through a mechanical process. All this takes place on a surface made of gold leaf which clearly recontextualizes the ancient pictorial tradition.

Marco Nereo Rotelli was born in Venice in 1955 and graduated in Architecture in 1982. His artistic research involves a dialogue between different disciplines and has involved philosophers, musicians, photographers, and filmmakers. But it is above all with the poetic word that Marco Nereo Rotelli's art has forged an inextricable bond. Among his many works and installations are: in 1996, the homage to the recently destroyed La Fenice theater in Venice, presented at the Rome Quadriennale; in 2000, the illumination of the façade of the Petit Palais in Paris with verses from Baudelaire's L'horloge; in 2001, the involvement of a thousand of the greatest contemporary poets in the installation Bunker Poetico, created at the Venice Biennale; in 2002, the reclamation of a long-abandoned quarry in Carrara, transformed into a large marble book for the 11th Sculpture Biennale; in 2002 the large environmental installation Poetry for Peace in Seoul; in 2005, again at the Venice Biennale, the recovery of the island of San Secondo.

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