Mara Giacon
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Works from 1969 to 2022




I have never attended Art School or any Academy of Arts, but only artists’ studios.

My mentor was the Veronese artist Domenico Zangrandi, under whom I was able to acquire an in-depth knowledge of the human body and, in the Englishgraphics field, of the dry point technique.

Initially, my painting was figurative, but later I turned to new forms of expression, experimenting in some depth with cubism and abstract art.

Around the ‘nineties, this new search for expression took concrete shape in a form of sculpture-painting which I have persevered with to the present day.

This new technique starts with a sketch that I elaborate and reduce to its essential lines afterwhich I draw the end result on the canvas. At this point, on the basis of the drawing thus obtained, I glue various materials onto the canvas, providing they are not too heavy. I then cover the whole with another canvas which, once it has been properly prepared, is ready for painting.

In this way I obtain forms that enable me to lend greater incisiveness tothe content of my paintings.

It is Man, as the “place” of feelings and passions, with all his implications and complexities, that is the prime “Subject” of my quest.

From the complexity and depth of the “Subject”, as the driving force behind, and the ultimate goal of my investigation, stem the ways and means of conveying not only the problematic components of the states of being of Man, but. above all, the exceptional nature and the mystery of the “Subject”.

The challenge - stimulating yet almost impossibly hard to grasp - in the relationship with “Reality”, the essential and sacred element of Life, initially takes shape in the painting, but not content with this, I have pushed tactile- visual observation to the point of attempting to grasp the unknowable.

Finally - not my last, but rather my current quest - is the invitation to the observer to perceive the “Light” of the mystery through the manifestation of the work of art.

The invitation stems, on the one hand, from the attempt - inadequate and painful though it may be - to convey the depths of the ineffable, beyond the forms, colours and combinations,and, on the other, from the ability to transcend the frontiers of the canvas and enter into the realm of the unlimited.

Su ^