Marco Delogu's latest projects
In October, Villa Medici will be staging an important retrospective exhibition of Marco Delogu, Noir et Blanc.
The title of the exhibition sums up a work essencially focused on portrait, that finds its leit-motiv in projects centered in groups of people, and that draw on a direct involvement with his life: from cardinals to roman statues, from gipsies to horse-jockeys, from prison to farmers and sheperds.
Marco Delogu has a immediate and frontal relationship with his sitters, like the one with the gipsy Senada or the ex death-row inmate Shuja Graham.
Marco Delogu’s last two projects, two migrations and four equestrian studies, open up to nature, in the different inflections of an attection that moves from the man to his enviroment.
They’re the first step torward the new sense of freedom that defines his last work, Natures: the plural points at a new space, bondless and without any precis geographical connotation, but made of fields, woods, beaches, of traces followed without any precise destination, of fragments that become traces of a path drawn by a gaze that gets closer and closer, that repeatedly moves from frontal downward, tactily following the ground movements, to then turn up and find back again a space shimmering of almost abstract fragments. Attentive to movements and to a more sharp and free vision, for the first time Delogu experiments video, as well, a transition instrument from a style defined by photographs always in vertical to the wider breath of the horizontal format.
The title of the exhibition sums up a work essencially focused on portrait, that finds its leit-motiv in projects centered in groups of people, and that draw on a direct involvement with his life: from cardinals to roman statues, from gipsies to horse-jockeys, from prison to farmers and sheperds.
Marco Delogu has a immediate and frontal relationship with his sitters, like the one with the gipsy Senada or the ex death-row inmate Shuja Graham.
Marco Delogu’s last two projects, two migrations and four equestrian studies, open up to nature, in the different inflections of an attection that moves from the man to his enviroment.
They’re the first step torward the new sense of freedom that defines his last work, Natures: the plural points at a new space, bondless and without any precis geographical connotation, but made of fields, woods, beaches, of traces followed without any precise destination, of fragments that become traces of a path drawn by a gaze that gets closer and closer, that repeatedly moves from frontal downward, tactily following the ground movements, to then turn up and find back again a space shimmering of almost abstract fragments. Attentive to movements and to a more sharp and free vision, for the first time Delogu experiments video, as well, a transition instrument from a style defined by photographs always in vertical to the wider breath of the horizontal format.