Enzo Marra’s imagery is marked by a distinct immediacy. Working with drawn and painted mediums, the themes expressed are made visible via instinctively applied linear and blocked out passages. The impact of each symbol emphasised by the directness of their application, without extraneous information to muddle the message they are willing to deliver. Their usual intimate scale allowing the viewer to build a relationship with them, as they are stood in-front of the hung painted surfaces. The purposely limited palette, allowing the depictions to not be obscured or overtaken by unnecessary frivolous flourishes. The challenge of working larger, an endeavour that Enzo took full advantage of, without cluttering or muddling up the final result. The concept of the corner, the replication of blocks to accommodate each corner, having allowed him to give both form and hue a strong voice in the final imagery created. The sprayed application over canvas, giving the expanses of colour a variance and undulation that adds to the final seen canvases. A trio of creative gestures which see into the future and comment on past.

I chose to install Marra’s works using the Renaissance lighting technique, candles.
Why?
Out of respect for the place, a Church, and to suggest to visitors the importance of creating a silent and almost contemplative environment. In this way emotions will meet the nature of art, the beauty
We will be using candles for all displays.
Visitors appreciated this choice. Their words were enthusiastic “it’s the first time we’ve visited an exhibition with the use of candles and it’s really something that grabs you, that forces you to think”

Pietro Franesi,

the curator