Marco Tirelli plays with Pointillism in his ongoing show at the Axel Vervoordt Gallery in Hong Kong.
Marco Tirelli brings a modern technique and perspective to Pointillist art in his latest exhibition. Until September 1, 2018, the Axel Vervoordt Gallery will host a series of new, small-sized paintings created especially for this show at its Hong Kong venue.
In this collection, Tirelli’s work is made up of geometrical figures, rectangular and square structures delicately suspended in a tension between light and dark. His enigmatic forms reflect a number of Tirelli’s enduring preoccupations with space, time and “what lies beyond,” according to the gallery.
“Tirelli’s dramatic technique is at the core of the spatial incongruities of vision and deviation of perspective that create the alienating space. Using low-pressure paint sprays and thin marten brushes, the chromatic buzzing of his dots provokes a continuous blurring and an apparent monochromatic effect. This remarkable application of pointillism, conceives a strong sensation of the flow of time, a passageway to meditation, a bridge between the possible and the impossible,” says the gallery.
Tirelli himself says, “the pointillist saw reality as something that was not objective, as if to say that we perceive the light of reality, but things in themselves remain far away from us, deaf and dumb; all we perceive is the reflection of light on their surfaces.”
The artist’s aspiration to show viewers what cannot be seen is inspired by some of the fundamental characteristics of the Metaphysical Art of Giorgio De Chirico and Giorgio Morandi but in a more free and modern way. His geometry has a lot in common with the three-dimensional forms that crowd the disappearing perspectives of De Chirico’s silent cities as well as Morandi’s still life from 1918 and 1919, where the geometrical elements entertain a contradictory interplay between illusion and reality.
Tirelli spent much of his childhood drawing. Still very young, he was already in touch with and surrounded by artist friends and scholar friends of his father, who was the manager of the Swiss Institute of Rome. Tirelli became an admirer of the Swiss scenic designer Adolphe Appia. The theories and sketches of Appia were an unquestionable initial influence on the “theatrical” conception of Tirelli’s Metaphysical painting practice. Tirelli literally borrowed Appia’s interior drawing for a scene in the third act of Tristan and Isolde for one of his recent paintings of imaginary architecture.
The exhibition is on view through September 1, 2018 at Axel Vervoordt Gallery, Unit D, 15/F, Entertainment Building, 30 Queen's Road Central, Hong Kong.
For details, visit: http://www.blouinartinfo.com/galleryguide/axel-vervoordt-gallery/overview
Click on the slideshow for a sneak peek at the exhibition.
Founder: Louise Blouin