Menu
The New Contemporary Art Magazine

Marco Mazzoni Exhibits New Colored Pencil Works in “Monism”

Infused with ecstasy and a dark beauty, Marco Mazzoni's art underlines the connection between the natural world and our own. First featured on the cover of Hi-Fructose Vol. 20, and our blog, the Milan, Italy based artist uses nature as symbolism for his own observations about life, where ghostly figures often emerge in the final stage of drawing. Their eyes are never shown, as Mazzoni sees his work more like a composition of still life of small animals, flowers and leaves, rather than a portrait, rendered only using colored pencil.

Infused with ecstasy and a dark beauty, Marco Mazzoni’s art underlines the connection between the natural world and our own. First featured on the cover of Hi-Fructose Vol. 20, and our blog, the Milan, Italy based artist uses nature as symbolism for his own observations about life, where ghostly figures often emerge in the final stage of drawing. Their eyes are never shown, as Mazzoni sees his work more like a composition of still life of small animals, flowers and leaves, rather than a portrait, rendered only using colored pencil.

Marco Mazzoni often works with the female figure and narratives from ancient Italian folktales, but in recent months, his interest has turned towards darker themes. His upcoming solo show, “Monism”, debuting on May 13th at Galleri Benoni in Denmark, will be one of his darkest shows to date. “It’s darkness is underlined both in the lack of an escape route showed within the moleskine drawings, in which I represent society as a “sect”, and also in all the feminine figures who literally come out of a deep dark background,” Mazzoni shares with Hi-Fructose.

“In all of my shows, I analyze society in a critical way, though always leaving a sparkle of hope, that I identify in the individual instinct of survival as catharsis. In this show specifically, that catharsis is not possible anymore, as the evolution of society destroys the survival instinct.” Mazzoni divides the show into two series: the first, ponders the negative aspects of “collectivity”, the quality or state of being a collective human body where “evolution does not exist.” The second part represents “feminine change”, especially through his triptych “Spasm/Menarca/Virtue”, in which the growth of a woman is used as a metaphor for social observation.

Mazzoni explains: “The show describes a social evolution that follows the one underlined by the famous quote from “Gattopardo”: “Se vogliamo che tutto rimanga com’è, bisogna che tutto cambi (If we want everything to remain as it is, everything has to change)”. Instead, in this moment, to describe the nowadays situation and paraphrasing the previous quote, a more suitable sentence would be “If we want everything to remain as it is, everything must stay the same”, in a critical way. All of the moleskines focus on this concept, which is also underlined in the titles, repeating the words “as a”: action-reaction.”

Meta
Share
Facebook
Reddit
Pinterest
Email
Related Articles
On April 16, Marco Mazzoni (HF Vol. 20 cover artist) will debut his solo show "Home" at Galleria Giovanni Bonelli in Milan, the city where he is based. As the title suggests, this exhibition represents a homecoming for the Italian artist, who has spent the majority of the past two years exhibiting abroad. While he has cultivated a large international fan base, his latest exhibition offers his Milanese audience a chance to see his latest color pencil drawings and Moleskine notebook pieces. Infused with dark beauty, Mazzoni's art draws a connection between the natural and spiritual worlds, illuminating the mystical qualities of the wild.
William A. Hall was homeless for 18 years before his intricate colored pencil drawings of vehicles and futurescapes were discovered and brought to the public. During the past few years, his work has been displayed by Henry Boxer Gallery and brought to museum collections specializing in folk and outsider art.
Eric Green's meticulously detailed drawings replicate life beautifully- but there is something off about them. "When you really begin to understand life, everything changes completely all the time. Nothing is ever the same again," he says. Working primarily in colored pencil, Green draws images that are meant to change our perceptions by illustrating the subtleties between moments as light changes and objects are mysteriously moved by unseen occupants.
Paul White focuses on a single medium in creating his hyper-detailed works: colored pencil on paper. In particular, the artist is focused on the concepts of decay and objects becoming obsolete. In terms of source material, much of his work is derived from photographs taken of desertscapes and other scenes across the West Coast.

Subscribe to the Hi-Fructose Mailing List