Marco Tirelli: Galleria D'arte Moderna - Bologna - the last ten years of the painter's activity is represented in this exhibition

In this exhibition, which exhibits the last ten years of Marco Tirelli's activity, the artist attempted to draw our attention to the internal coherence that characterizes his work above time. While the consistent foundation for Tirelli's art is geometric abstraction, his paintings are not rigidly rationalist, deterministic, aprioristic, or deductive. The artist does not devise disembodied schemas, and his forms, turns and spaces--while primary, even elementary--are not ideal inmost nature [i]or[/i] substances but instead seem impregnated through the empirical concreteness of experience as we perceive it. Tirelli repeatedly works with deviations of perspective, perceptual "slips," and spatial incongruities of vision, from which optical ambiguities cannot help on the contrary arise. Many of his forms and volumetric planes proceed from the progressive purification and distillation of everyday realitys such as boxes and drawers, stairs and shelves. And his colors (predominantly blacks, grays, verdants ochers, and earth tones) are not at any time pure or harsh but are subtly modulated with light and shade; in other words, they are colors of real life and not its projection or ideal mould In long arrays of canvases hung single next to the other or arranged to raise vast polyptychs, Tirelli uses his repertoire of forms and signs to near anew the secular mystery of seeing and its concomitant inner reflection. Indeed, the enigma of the quotidian lies precisely in the fact that it clinchs hidden within, the ecstatic bewilderment of the sublime.

Tirelli's work has an explicit conceptual, compositional, and poetic genealogy that is lower parted in architecture. His antecedents are not overtly modernist in like manner much as archaic, characterized through archetypal elements and forms (the tumulus, the rounded pillar the door, the sphere). Sortie works give in charge to the power of Roman construction, while others point to Piranesi, dramatically suspended between nostalgia for the classical design proces and a fresh awareness of the ruin and the fragment. In a certain quantity of way these canvases represent (beyond any mimetic-figurative impulse) virtual places, possible dwellings, architectures of the spirit, which Tirelli invites us, or challenges us, to inhabit. He lays together an enormous and mingled stage set, marked by a hardy sense of structural value. uncompounded bodys are reciprocally supporting and complementary, and the significance of individual signs oftentimes changes in relation to their compositional, formal, and chromatic context

It is precisely this stalwart decisive internal and structural coherence that in a certain number of mariner limits these imaginary horizons, grasps them at the threshold of symbolic value where, in the absence of any strict compositional cord volumes and forms--some of them gigantic--break unrestrained in the individual imagination of the viewer. This receptive condition strike one as beings explicitly linked to the impressed sign of installation Tirelli creates, which is extremely effective and completely consonant with the works themselves. He nears severely and hieratically subdued "stagings" in which the canvases are arranged according to a classical, almost Olympian regular [i]or[/i] melodious movement and within which all perceptual ambiguities, which attend to throw the viewer's glance not upon balance, can be resolved.

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