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Presentation  of the staff "The life that crosses us", _ cc781905-5cde-3194-bb3b-136bad5cf58d_

Castello  Angioino  aragonese di Agropoli - July 2022

Roberto  Maffione

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Probably not everyone is familiar with Anna Maria Moramarco's previous works, but you can get an idea of them from the brochure, looking at the images of the first two series of paintings: "in the stone" and "the dream of bodies" .

Despite the obvious change, some profound elements of continuity remain between the works presented here in Agropoli for the first time and the previous ones:

• The first is the centrality of the human figure;

• the second is the fact that this figure is always immersed in a world of abstract forms that goes beyond it . 

But in the previous series the figure was as if thrown into a chaotic universe of three-dimensional shapes, which had the compactness and hardness of stone. A world in which human bodies were imprisoned.  The dominant feeling was that of sadness, understood as the meaning of life blocked. 

Now the figure is immersed in an equally chaotic but fluid world of colors and fragmented shapes that cross human bodies, but do not imprison them. It cannot be said that the dominant feeling is joy, but rather an uncertain and difficult search for joy, that is, the feeling of life flowing, the power to act that grows, the expansive feeling of being at one with the world.  

I will try to analyze the paintings presented in this solo show in this light. Sticking to the title of the exhibition: the life that passes through us.

The starting point is the human figure taken from time to time in a posture that reveals a certain relationship with the world and alludes to a possible story.

From the pictorial point of view this is the most properly figurative level of the paintings.

The story that these figures tell, more or less directly, but always with an evident emotional charge, is that of a conflict. The conflict between freedom of movement and constraint, between life and the obstacles that block it. 

The human figure almost always measures itself directly with a limit, which very often appears as a real wall that is physically forced to push forever to make room for light as in Sisyphus, or a sort of press that threatens to crush it as in Sisyphus. The solid and the liquid, or an old wall against which he leans tired, as in The snake woman. 

Sometimes, with a subtle ironic play between figuration and abstraction,  questo limit is the physical limit of the canvas, as in The Box or in The Lady of the Wood. Here the represented image, which should live in a virtual space, beyond the projection plane of the painting, seems to realize that it is nothing more than color on a canvas and tries to get out of it by forcing its limits. There is also a similar play in Tilt. It seems that the figure bends its head to enter the too narrow limits of the frame.

And then there are the mental walls. Those that prevent us from communicating, as in The Scream or those that each of us builds in his head, as in Mondi. In some paintings the limit does not exist, simply because the figure is closed in on itself, in a dream of his, as in Ophelia or Blake's Dream.

Only in L'isola is there the vision of a transfigured body, a body that has exceeded all limits, to the point of identifying itself with the world, to the point of becoming a sort of planet in the depth of the night.

At this "figurative" and "narrative" level, another abstract is superimposed, made of flows of color and fragmented shapes that fills the image crossing the figure . 

It is a chaotic world that with its superimpositions creates a variety of unexpected shapes. 

But the figure is neither deformed nor swept along by this flow. It retains its defined shape . 

The previous conflict is taken up here on another level, but on a more essential level.

Before, the figure was confronted with external limits that somehow blocked its movement. Now it is the figure itself that is the limit, with its shape closed in its outline, opposed to the abstract flow that overlaps it . 

This new level would seem to mean that it is no longer the circumstances of existence that block us, but ourselves as an individual, partial and provisional reality separated from life as a formless and ever-changing flow. -136bad5cf58d_

But precisely this almost casual superimposition of abstract shapes on the figure produces an image and a procedure that go in the direction of a refined expression of joy.

• The tattooed body takes the place of the imprisoned body, as a symbolic image of the entire series of paintings.

• The painting as a palimpsest, in which color and form are free to arrange and stratify, takes the place of the perspective space with its "tyranny" over shapes and colors.

The tattooed body is the automatic result of the superimposition and intersection of the abstract forms with the figures, but it is also a sort of password. As it is recognized in the paintings of Anna Maria Moramarco, the tattoo is not a sign of individual distinction, with possible references to the personal biography, but it is neither more nor less than   the projection of the world on the body.  The TATTOO BODY is the body that becomes world because the world is inscribed on its surface. The tattooed body is the body that wants to welcome the world within itself, life in all its expressions, even at the cost of losing its individual identity, indeed to lose it.

The method of layering, superimposition and intersection of planes refers to a particular idea of the painting, neither figurative nor abstract, but to the idea of the PICTURE-PALIMPSEST.

The palimpsest in the Middle Ages was a reused parchment, on which several texts were written in succession, canceling the previous text, which still remained partially legible and decipherable.

The idea of a schedule refers to a sort of aesthetics of complexity that is not afraid of chaos and disorder.

The picture, like the world, appears chaotic to us because it is the coexistence and superimposition of many levels and many orders, each with its own autonomy and freedom, which intersect, continuously producing new and unpredictable forms. 136bad5cf58d_

And this ability to generate something unexpected makes it possible to overcome the limits of the usual categories and classifications, making the schedule a real creative process.

Due to her desire to seek the fullness of life by confronting chaos, Anna Maria's painting is fully modern. He faces chaos to extract a possible order, which will no longer be that of the figure, but which binds together form and flow, figuration and abstraction.

The most important and intense part of Anna Maria's pictorial work begins precisely when she confronts the chaos of random intersections, to extract opportunities, lines of force capable of giving direction, order to the image. For her, every painting is an adventure, because what determines its outcome, success or failure, are the chance encounters made along the way and what you will be able to derive from them.

In this process, which is the heart of the painting creation process, the unifying element is color. The color passes through all the layers of the image and, like a wave of energy, enlivens them and gives the painting its immediate expressive force.

To conclude it can be said that:

With the energy of color these images capture us.

With their layered complexity they question us.

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Atlas of Contemporary Art, De Agostini 2020
pp. 773-775
 
Anna Maria Moramarco lives and works in Potenza. He graduated in architecture and at the same time studied painting. Her training as an architect will allow her to create works of great originality, characterized by the presence of complex geometric volumes in "organic growth".
Spatial entities clearly marked and underlined by a meditated chromatic juxtaposition are often the subjects of his paintings. In Kosmos , for example, the artist creates a kind of diptych, where two independent scenes, although apparently very similar, represent the same event with subtle divergences. Centrally stands a mighty geometric body that seems to come from the sky. It looms over the landscape, suspended between clouds and a mirror of water.
In the first scene, below this construction, a fish swims unaware of the heavy volume that seems to be about to collapse in front of it, in the contiguous one, however, opens its mouth almost frightened. The ability to render the reflections in the water of the structure and the surrounding landscape with verisimilitude is admirable. The pictorial ductus and the surreal setting recall the works of René Magritte, although Anna Maria Moramarco inserts these absolutely characterizing geometries and to be read clearly in continuity with her profession as an architect. Therefore works emerge that cross the boundary between formal design and painting, penetrating the two instances in a skilful compositional synthesis. The union between living human entity and composition is very evident in Ragno . In this painting, in fact, the insect is not represented mimetically, but its shape is evoked by the intertwining of an anthropomorphic figure, naked and crouching, and a series of diagonal, onzzontal and vertical lines, which in their unraveling, refer to the insect paws. Even the choice of red evokes the iconic chromatism of the famous superhero Spider-Man. The incumbency of architectural forms becomes more and more marked, to the point of becoming an element that bends the human in the most recent creations of the artist; this happens in paintings like Selva Oscura , where with a labyrinthine and unsettling effect, rectangular bodies chain and fragment a figure spilled on the ground.
The latter, which in the anatomical description recalls the metaphysical presences of Giorgio De Chirico, is a prisoner of architecture. The artist then moves the user to a delicate reflection on the mechanisms of society that limit, constrain and envelop the freedom of the individual. The same effect is found in the Archaeologist , unlike the aforementioned work however, here the painter decides to represent a half figure and smaller geometric shapes that climb along the neck and torso of the same, which seems to try in vain to stop its movement with the hand. In order to intensify the effect of oppression and restlessness, we note a different use of color: the bright and enameled colors that characterized the previous works are replaced by a fine and chiaroscuro use of brown earths.
Particular in Moramarco's reflection is the question of space. The three-dimensionality of the geometric shapes described has to deal with the two-dimensionality of the support of the painting. The result is an alienating effect on the viewer, who becomes enchanted by the all-round vision of the architecture and then realizes that it lies under the flat dimension. of the canvas. An evoked reality or spatiality. The suffocation effect of the prisms is even more evident in the work Travolti. Here the human figure is reduced to the sole representation of the head, which, in some cases, is dissected by the presence of the volume.
The hue becomes lighter and warmer again, but the drips of the brush are replaced by the flat backgrounds, small pieces of color affect the perfection of the structures.
Another expression of the reflection on spatiality, which this time breaks the two-dimensionality of the support, is the series of graphics Nostalgia of the totally other . In them, some drawings of composite architectures made in Indian ink, are enlarged, painted and reported on the front pages of newspapers, digitally printed on paper, in a limited series with giclée printing and finally mounted on aluminum panels. About this new invention the artist writes: "The world of everyday life, even in its most striking events, is removed, almost denied by a gesture, by a hand of white on which to draw a dreamed world of Architectures and Gods who they live in the freedom of form and color. Thus is born the possibility of a game, sometimes cruelly ironic, of overlapping, erasing and transparencies. ·
Anna Maria Moramarco, of fame. consolidated, she has been the protagonist of numerous personal exhibitions.
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Gabriele Scarcia
writer and art historian
The treasure of Basilicata , La Nave di Teseo, Milan, 2017
pp. 223-226

Mantegna did centuries ago, what many modern pseudo-artists should do. What the protagonists of the Trans-avant-garde Pop art are trying to do today through post-classicism. What the Lucanian Anna Maria Moramarco does, she paints by sculpting, with a gaze aimed at the unfinished Michelangelo, at the paradigmatic Christ in waste of Brera, with muscular bodies, stretched out, seated, reclins that struggle to disengage from the material, almost synthesizing the two creative souls of Mantegna.
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Prof. Nicola Troiani
Art historian
Presentation of the personal exhibition at the Zina d'Innella gallery, Bari 2013
 
At first glance, figures appear that break up between blocks of matter, become petrified, masses that fragment between solids. But on closer inspection it may be the other way around. That is to say that the bodies are forming, in the sense that under our gaze they are acquiring form and therefore begin to exist.
Mythos in ancient Greek is the short story, not detailed as is the defining logos and such as to escape the rationalistic mortgage. And what more than an image is a mythos? And what image among the infinite ones that dot our life is better than these that are what they are, don't even ask to be explained? The emergence and coming to life of these beings, among the sharp sharp blocks of the shapeless substance, recalls the ancient myth of the Giants, those born from the earth, but also of the Automata, made of copper, stone and wood. -5cde-3194-bb3b-136bad5cf58d_
But the cosmological component is not the only one of the myth, which is the representation of our most unknown and profound being. Since the Giants and the Automata are not born from the womb of the woman, loneliness is destined for them, and in fact the images are all male of men looking for women: Genesis tells that the Giants were the children of angels and mortal women, hybrids of solitary grandeur .  In the myth Zeus defeats the Giants, establishes civilization, rationality and order on earth, the Automata are the losers. But are we really sure that they have all disappeared? Isn't it that they keep on living, in our dreams?

At first glance you can see figures petrifying  or fragmented between blocks of matter. But on closer inspection it can be the opposite. Namely that the bodies are forming, in the sense that under our eyes they are acquiring their shape, and then begin to exist. 
Mythos in ancient Greek is the short story, not as detailed as is the logos. And what more, than an image, is a myth? And what image of the infinite that punctuates our lives is better than those that are what they are, they do not even ask to be explained? _Cc781905-5cde-3194-bb3b-136bad5cf58d_
The emergence and the coming to life of these beings among the sharp blocks of unformed substance remind us of the ancient myth of the Giants, born from the earth, but also the myth of Automata, made of stone, wood and copper._cc781905-5cde -3194-bb3b-136bad5cf58d_
But the cosmological is not the only component of myth, which is also the representation of our being, the most unknown and deep. Since the Giants and Automata are not born from the womb of a woman, they are destined to solitude, and in fact all these beings are men seeking women. Genesis relates that the giants were the children of angels and mortal women, hybrid entities of solitary grandeur. In the myth, Zeus defeated the Giants and established civilization, rationality and order on earth; Automata are the losers. But are we really sure that they all disappeared? It's not that they continue to live, in our dreams?
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Paolo Levi
Art critic
First International Trophy “Arte Impero”, July 2016
 
Anna Maria Moramarco transposes her metaphysical dimension onto the canvas in which the ruins of geometric buildings and bodies crash on the shores of collective consciousness. Images of unusual stylistic power and meaning. The artist takes care of the drawing in detail, enhances the nuances  created by the light on the bodies that seem to merge with the material, he combines the colors  calibrating them to make them messengers of the different states spirit that accompanied the creative idea. Thus opens, under the gaze of the observer, a mysterious universe, which announces investigable truths only by digging into the depths of the unconscious. The artist follows the aesthetic canons of the contemporary and pays particular attention to the chiaroscuro contrasts that give material substance to the underlying meanings that reside not so much in the color scheme, but in the enigmatic hints inserted in the painting that involve the viewer in a cryptic game of reinterpretation .
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Blue Immediate
Art historian and critic  
From the catalog of the exhibition "Arte a Palazzo", Bologna 2015
 
Pars Costrens and Pars Destruens as leitmotifs of Anna Maria Moramarco's compositions. Reading the titles, nothing to do with the ancient Egyptian buildings or with the vaunted Dante forest, although there is no lack of metaphors in Moramarco's pictorial research. It is true that architecture comes into play in his passion for art, but it is used in order to build a world from scratch that is a mirror - dark and truthful - of our universe, but let's proceed with caution in interpreting it. .
Moramarco was born in Matera, where the fusion between nature and architecture blends inseparably, without following aesthetic standards, but rather reflecting human chaos. Intricate alleys create labyrinthine paths between the tunnels of the Sassi and between dark rocky cavities, the stone placed by man clings to the pre-existing rock creating an introflex amalgam. This plasticity of forms, the gap between lights and shadows, Moramarco brought with her, even when, arrived in Potenza, she opened her own art gallery . 
At the same time, the expressive urgency has turned into the need to paint, to bring on the canvas the exploration of a decidedly unusual world, which does not show a mimicry of the objective data. painting of his subjects responds to the rules of good anatomy and good architectural construction, the artist introjects us into a misty, dark Augean non-place composed of alienating volumetric geometries that engulf / engulf human bodies.
The geometrical forms seem to grow from the depths, destroying what they encounter along their path. The mutations of these volumes are found to be a parallel with the anthological speculations underlying the epiphanic and artistic act itself, which take substance through the oil color mixed with chalks . 
Organisms similar to emblematically asexual figures, such as to symbolize the whole of humanity, are enveloped by matter, heavy, opaque, compact. One has the impression of probing a completely deserted and petrified place, highly disturbing and oppressive in its sense of estrangement.
The fruitive reading takes your breath away, the real space is as if swallowed up by the painted one and, at the same time, it almost does not hold back, falling ruinously into our space. The three-dimensionality, which is one of the capital characters of Moramarco's figuration, is a metaphor for an even more recognizable reality despite its paradoxical extraneousness . 
Visionary, metaphysical and surreal worlds those painted by the Italian artist in which time and space cancel each other out, giving rise to a sort of suspended limbo, in which the evocation is the atmosphere you breathe.
The artist has created a sort of code, a language intrinsic to his figuration that hypnotizes and then sharpens the synaesthesia of the fruitive analysis.
The observer will feel blocked, in a sort of dimensionality that leaves no room for movement - as volumetric constructions would theoretically imply - but grasps the freedom of action and limits it to the act of reflection. From this moment on, however, the road, the path offered by the artist becomes salvific and cathartic: starting from the material worlds that Moramarco builds, the observer, the artist herself and humanity can rethink a reconstruction ex novo, make a clean sweep of these geometries, which are essentially existential, and give rise to a rebirth.

“Pars destruens” and “Pars construens” as the connecting thread of the compositions of Anna Maria Moramarco.
Nothing to do, reading the headlines of some works, with the ancient Egyptian buildings nor with the dark forest of Dante, albeit there is no shortage of metaphors in the pictorial research of Moramarco. It 's true that in her passion for art architecture comes into play but it is used in order to build an ex-novo world that is a mirror - dark and truthful - of our universe. But let's proceed with caution in the interpretation.
Anna Maria Moramarco was born in Matera, where nature and architecture blend inseparably, without following the aesthetic, but rather reflecting human chaos. Intricate alleys create labyrinthine paths between the “Sassi” caves. The stones added by man cling to the pre-existing rock, creating an introverted amalgam. Moramarco brings with her this plasticity of forms and the dramatic interplay between light and shadow. 
At the same time, her expressive urgency has morphed into need to paint, to bring to the canvas the  exploration of a very unusual world, not the passive imitation of an objective reality.
Although the translation into painting of her subjects complies with the rules of good anatomy and good architectural construction, the artist introduces us to a dark “non-place” composed of alienating volumetric geometries that incorporate and  engulf human bodies.
The geometrical shapes seem to rise up from the depths, destroying everything that stands in their path.  Mutations in these volumes are found to be a parallel with the basic artistic act, taking substance through oil paint mixed with oil pastels. 
Organisms like figures symbolically sexless (so as to symbolize the whole of humanity) are enveloped by a matter that is heavy, opaque and compact. One has the impression of venturing into an entirely desertlike and petrified, highly disturbing place, oppressive in its sense of alienation.
The fruitive reading of the paintings takes your breath away, as if the real space was engulfed in the pictorial space, and at the same time, the pictorial space does not hold back, but falls into ruin in our real space. The three-dimensionality, which is one of the chief characters of the figuration of Moramarco, is a metaphor for a reality clearly recognizable despite its paradoxical strangeness. Visionary, metaphysical and surrealistic  worlds, are those painted by this deeply Italian artist in which time and space cancel each other out, in a kind of limbo, in which evocation is the atmosphere.
Anna Maria Moramarco has invented a kind of code, a language inherent to its figuration that hypnotizes and sharpens the synesthesia of our fruitive analysis. 
The observer will feel locked in a kind of dimensionality that leaves no room for movement, grabs the freedom of action but expands the space of reflection. From now on, however, the road offered by the artist becomes salvific and cathartic. 
On the basis of the material worlds that Moramarco builds, the observer, the artist herself and humanity can rethink a reconstruction ex-novo, make a clean sweep of these geometries, which are essentially existential, and give rise to a renaissance.
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Sandro Serradifalco,

art critic

artistic director of EA Effetto Arte,   July 2015

 

Anna Maria Moramarco is a contemporary painter in style and conceptual form. He elaborates compositions of great significance and topicality, exploiting social themes for suggestive imaginative reflections, which are none other than his works.

Marble figures rise above imposing architectures, fitting into the middle of architraves, ravines and gaps; they may objectively seem scenarios of a modern war, they may seem metaphorical projections of abstract thought, but what is certain is the irrepressible vigor of its sign language. A language whose alphabet is made up of figurative symbols, from images whose sign value rises above the visual impressions, revealing the mystery of the works . 

An impeccable pictorial technique that denotes not only a profound expressive capacity, but also an innate technical talent, developed over the years thanks to his fervent desire to study and learn; the well-spread color that perfectly renders the often dark atmospheres of the paintings perfectly, enhancing their personality.

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Araxi Ipekjian
Art critic
In Women in art The eternal feminine between nature and artifice. From Camille Claudel to today.
Monthly Art Mondadori. October 2015

Anna MAria Moramarco's poetics is centered on the careful and scrupulous investigation of the world of forms in their plasticity. A completely personal re-search that arises from the passion for interpenetration and the organic growth of cutting volumes.
Identifying oneself in the forms, feeling them, perceiving them by means of their variations, mutations.
Architecture enters the artist's works and becomes an integral part of them. The bodies are one with the volumes they are part of. The space moves in balance between painting, sculpture and architecture, evolving and developing suggestive and evocative dimensions
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Roberto Maffione
Professor of History of Architecture, University of Basilicata
From the presentation  of the solo exhibition of Acerenza, "Porta Coeli" gallery
 
The series by Anna Maria Moramarco
 
The ink drawings
They are very small drawings, executed with an almost superstitious faith in the need for a mental state of concentration, capable of turning off all the voices outside and inside, so that only the strength of the line can be heard and supported. A black and fluid line, which moves on the white sheet but, at the same time, in a profound and visionary three-dimensional space, in which, little by little, architectures take shape made of a hard and compact and yet docile material, ready to become dig and cut.
The iron rule of these drawings is never to stop once they have started, do not cancel, do not redo. For this they have, in some way, to do with the unrepeatable singularity of the event, with Japanese calligraphy, but also with the automatic writing of the surrealists.
They are visions, openings in an “other” space, in a world that these small architectures with an immeasurable scale create around themselves; a world made of still waters, distant mountains and clear skies, in which light clouds pass.
Even when Anna Maria devoted herself more intensely to painting, the small drawings  in china continued to proliferate, stubborn and indifferent. They are the underground source, the constant exercise, from which all his world of forms is born.

Paintings 
These paintings reveal a burning passion dominated by the "classical" search for an objective consistency of form.
The interpenetration of hard and angular forms with the organic ones of human bodies, produces a cruel fragmentation, but at the same time beautiful and enigmatic, with its unexpected intersection geometries, reminiscent of those of a dam crossing a valley.
This struggle of bodies, a never resolved tension between necessity and freedom, between coming out and being sucked in, is perhaps the only strange way in which these “architectures” can be inhabited.
Through the mirror of her painting, Anna Maria manages to make us look and perhaps, even for a single moment, exorcise that petrifaction of the body, mind and heart, which hangs over each one, like an advancing desert.

The graphics
The title of the series is "Nostalgia for the Totally Other", and takes up that of a book-interview by Max Horkheimer. The small ink drawings were enlarged, painted and reported on the first pages of newspapers, digitally printed on paper, and finally mounted on aluminum panels. The world of the "everyday", even in its most striking or dramatic events, is removed, almost denied by a gesture, by a hand of white on which to draw a dream world of islands and gods who live in the freedom of form and color .
Thus was born the possibility of a game, sometimes cruelly ironic, of overlapping, erasing and transparencies. Here and there (in an only apparently casual way) a face or a word emerges, often full of drama, like a distant cry, trying to be heard again, while a new music is occupying the entire sound space.


The series of Anna Maria Moramarco
 
Ink drawings
These are small, almost miniature drawings, executed with a superstitious belief in the necessity of a mental state of concentration, able to turn off all the voices coming from  outside and inside, so that you can feel and go  with the inner  tension of the line. A black and fluid ink line proceeds on the white sheet, but at the same time moves in a deep three-dimensional and visionary  space. Here, little by little, architectures take shape, made of a matter hard and compact but, at the same time, docile, ready to be chiseled out and cut.
The iron rule of these designs is never stop, once you started, do not delete, do not repeat. For this reason,   in some way,   they deal with the unique singularity of the Event, with the Japanese calligraphy, but also with the automatic writing of the surrealist avantgarde.
These little drawings are visions, glimpses at an “other” space, in a world that their gigantic architectures create around them; a world of still waters, distant mountains and clear skies in which light clouds float. Even when Anna Maria began to devote herself more to painting, small ink drawings have continued to proliferate, stubborn and indifferent. They are the underground spring, the constant exercise, from which her whole world of forms arises.
 
Oil paintings 
From these paintings, a burning passion, almost a latent violence is revealed, dominated by the “classical” search for the substantiality and clarity of form.
The interpenetration of stereometric and tormented forms made of stone,   with human bodies, produces a cruel fragmentation, but at the same time creates beautiful and unexpected effects, complex intersections reminiscent of a dam that crosses a valley .
A struggle of bodies, a never resolved tension between necessity and freedom, between projecting out and being sucked in, is perhaps the only and ambiguous way in which the “architectures” of Anna Maria Moramarco can be inhabitated.
Through the mirror of her painting, Anna Maria manages to make us look at, and perhaps exorcise, the petrification of body, mind and heart, hanging over everyone, like an advancing desert.
 
Graphics
If the oil paintings are in some way the nightmare, the graphics look towards a dream. The series of graphics “Nostalgia of the totally other”, takes its title from a book by Max Horkheimer. The small ink drawings have been enlarged, painted on the front pages of newspapers, digitally printed on paper, and finally mounted on aluminum panels.
The daily world of "Newspaper", even in its most striking and dramatic events, is turned away, almost denied and erased by the gesture of applying a semi transparent  white color on which to draw anew a free world of form and color.
Hence, the possibility of a game, sometimes cruelly ironic, through overlays, erasures and transparencies. Here and there a face or a word emerge, often loaded with drama, like a far cry, trying to be heard again, while new music occupies all the sound space.