Marina Falco was born in Naples on 30 august 1967.
She graduated from the Brera Academy of Fine Arts in Milan in 1990 with a diploma in art. She taught art at the Terragni High School and the Aldo Galli Academy in Como. Since 1998 she has held the chair in Artistic Anatomy at the Academy of Fine Arts in Sassari.
At present she teaches at the Brera Academy of Fine Arts in Milan.
Marina Falco lives and works in Milano.
Critics who wrote about Marina Falcos’s work:
Luisa Bergomi, Cinzia Bollino, Felice Bonalumi, Chiara Canali, Marco Cassinari, Luigi Camporelli, Paolo Cappelletti, Giovanni Cerri, Lucia Cutura, Giuseppe Conte, Mimmo Di Marzio, Antonio D’Amico, Elena Di Raddo, Giulio Dotto, Fiorella Mattio, Franco Migliaccio, Sergio Milazzo, Luca Nicoletti, Carlo Perini, Alessandra Paganardi, Gianni Pré, Giorgio Seveso, Ida Terracciano, G. Marco Walch.
Last flakes of sedimented colours
Art tells about life with a close examination of methodological semblances, which are always new and bold, more than often sublimating the narrative of the pictorial dimension.
Perpetrating his/her genius loci, nurtured by centuries of dynamic creativity and in constant paratactic progress with his/her own epoch, as Ernst H. Gombrich recalls, the artist, rises up as judge of nature and its elements.
All the natural affections innate in the artist’s experience, simultaneously transform the body and soul of the visual form. So, starting from Aristotle’s analysis, to each visual mark there corresponds a set of symbols, which creates new, appropriate strokes that have sedimented in the speculative and magnetic den of the creator.
In her latest pictorial tranche, in constant evolution but perpendicular to the research conquered in time that Marina Falco presents in this exhibition, the interior resonance cited by Kandinsky comes into play.
All in all, her paintings become the mirror of a reality which is filtered through flakes of colours stemming from an inner light corresponding to the external light of the experience that Marina, consciously but, inevitably, also unconsciously, has always matured.
The tone of the alleys static in time and space, whose mule tracks simulate a broad, distorted perspective, anchored in the imperturbable microcosm of individual sensations and for this reason shielded by reddish filters, places a sort of magnifying lens directed on the very soul, where the passion of the red becomes the leitmotiv of pure visibility with no conjectural bonds.
A soul that speaks in the figures that advance over the surface, three quarters, reminiscent of Titian, suited to scraping an identity in search of memory, the same that converses with a future that has to be constructed and a bulky past now known. It is the look of the eternal comparison, the same that can be read in De Chirico’s Self-portrait. Here the herm of profile traces the history of the man, where those faces shielded by Marina Falco recall the transience of life and the natural disposition of a time that in its dynamism returns to the constant balance between experience and feeling!