Marco Bagnoli

  • 01

Marco Bagnoli, Come figura d'arciere (as an archer figure)


Location: Villa Lysys, terrace at the first floor

1993 (2012)
90 x 30 x 25 cm

Short Bio

Marco Bagnoli shifts the direction of the gaze, or rather the plane of the vision, beyond the appearance, by reversing the optical, chemical and psychological perception towards the ineffable spiritual vision, there to the point of meeting and multiplication of the finite space and infinite time, where the structure of the ego (the man) expands in meeting the other (the divine). Actually, a work by Bagnoli shows what is revealed to the mystic in his perceptual solitude: in fact, as in Plato and in the Renaissance Hermeticism, it is only by setting the intellectual soul free from the ties of the sensitive soul that the consciousness can look at the point where the image reverses as an icon and beyond that. This reversal - from the limited and relative, to the unlimited and absolute - does not end when the vision annihilates. The viewer comes to his senses and - where he had experienced several appearances - now he recognizes the creator's absolute mark and face. The artwork is the sign of the transcendent nature, a memory of the direct vision of the upper world, a narrow door and reversed point of view. It fuels the desire for beauty; it soothes the endless melancholy that occurs each time a threshold has been crossed. The relationship between Arts, Sciences, Hermeticism and Spirituality is crucial in Bagnoli's speculation. After his studies in Chemistry at the University of Pisa, Bagnoli leaves the laboratory to present his first works on this topic in Pescara (Il Buon Luogo..., Pescara-Rome 1976- 78) and in Turin (Teatro Gobetti, 1977). In the late Seventies, Bagnoli starts to publish the magazine Spazio x Tempo, a cultural style that has characterized a great number of his artworks and exhibitions since then. The scientific developments, the relationship with alchemy, largely influence Marco Bagnoli's research. The endless debate between reason and imagination, sensitivity and analysis, results into a metaphysical tension which characterizes his work: "The work is always a miracle, because it occurs in the world and for the world (...). It occurs in the nothingness and therefore it accomplishes - in excess - the offer of itself". The artist enters the mystery of the visible, the heart of the reality, in a way other than the one used by the scientist. If art is an expression of the being, then science "as regards this being does not know how things are. It acts in general. Its look reflects the nature, a subject reaching an object".
As written by Lara Vinca Masini: "Bagnoli carries out complex interventions, full of conflicts, of Hermetic and ritual references, magical evocations, by creating a sharp relationship of tension which is more energetic than emotional, through signs and colours, being able to achieve also a subtle, tacit poetic charge".