- Marco Eusepi
From November 19 2021 to January 15 2022, NOVO is pleased to present the first solo exhibition in Florence of the artist Marco Eusepi, curated by Pier Paolo Pancotto. The exhibition, entirely dedicated to painting, ranges from works on canvas to paper, constituting a corpus that, although heterogeneous in sizes and supports, directs the viewer’s vision on natural anatomies now presented in their entirety, now in the form of a fragment. Thus Eusepi, moving within a territory dear to the history of art – where representation of nature, landscape tradition and attention to the single element constitute a research as ancient as contemporary – seems to re-propose the question by offering an intimate yet shared perspective on the matter through a painting made of soft and delicate tones. Marco Eusepi’s current research investigates the natural element as an active pretext for a metalinguistic reflection on painting. In his pictorial grammar, the surface becomes a field of formal deconstruction in which the different levels merge, questioning the compositional hierarchies through the creation of new materic organisms.
From November 19 2021 to January 15 2022, NOVO is pleased to present the first solo exhibition in Florence of the artist Marco Eusepi, curated by Pier Paolo Pancotto. The exhibition, entirely dedicated to painting, ranges from works on canvas to paper, constituting a corpus that, although heterogeneous in sizes and supports, directs the viewer’s vision on natural anatomies now presented in their entirety, now in the form of a fragment. Thus Eusepi, moving within a territory dear to the history of art – where representation of nature, landscape tradition and attention to the single element constitute a research as ancient as contemporary – seems to re-propose the question by offering an intimate yet shared perspective on the matter through a painting made of soft and delicate tones. Marco Eusepi’s current research investigates the natural element as an active pretext for a metalinguistic reflection on painting. In his pictorial grammar, the surface becomes a field of formal deconstruction in which the different levels merge, questioning the compositional hierarchies through the creation of new materic organisms.