Marco Poma
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PORTFOLIO
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PLUMBEA
Carrying out a graphic research requires a strong adherence between medium and message. The complex processes operated on the matrix create fertile conditions for a deepening of the themes that is not just representing but instead pushing to investigate the methodological solutions necessary for the enunciation of the proposed message.
The aim of translating the reflection on the human into chalcographic techniques, through the comparison dear to me between sign and signal, between signifier and meaning, has guided my work towards a new formal synthesis: flat backgrounds that scan planes and volumes are replaced by a swarm of sign particles, which disintegrates the figure - apparently compact - thus bringing to light precariousness and fragility.
The densely intersected etching technique gives each line a measurable physicality through the intensity of the shadow that each sign projects. As a thought comes to life in the word, these signs, like inflicted wounds, come alive from their own shadows.
STRUCTURA
The first phase of my graphic research relates to the theme of the metaphysical landscape with the intention of bringing attention to the intrinsic fragility of apparently solid and colossal forms. The implicit juxtaposition is between animate and inanimate: the figurative elements are metaphors of the individual and the relationship he establishes with society; mirrors and projections emerge and immerse in the lights and shadows of an individual construction process. Cohesion and solitude coexist in multitudes of structural elements which appear compact and isolated at the same time. The suspended atmosphere is suggested through the use of strong tonal contrasts and shades of black obtained through the combination of traditional and experimental techniques; the setting thus turns out to be devoid of clues. The observer is invited to get lost inside it, becoming both victim and creator of the resulting sense of disorientation.
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ASTRAZIONI
The installation consists of ten etchings made out of reduction print matrix: there is only one matrix, and the prints obtained from it are snapshots of the different phases of engraving. This means that to obtain the second print, the matrix from which the first is made must be altered. Same goes for the third and for all others. Due to this technical peculiarity, there is only one print of each state of process.
The work reflects on change as a synonym of vitality through this alternation of destruction and creation.
