Marisa Marconi who shares the wonderful spaces of Palazzo Malaspina with her husband Vittorio Amadio, applies herself with equal enthusiasm to painting, sculpture and graphics. Presently she is exhibiting four spray-gun paintings and a sculpture in walnut, Era . The surface of this sculpture presents characteristics very similar to those of her paintings. The sand scratches on her paintings are not distant from those made by the burin on the plate prior to its immersion in acid.

Her discourse is all focused on the presence of absences that in the beginning of the eighties had its first epiphany in those somatic distillates that gave life to the cycle of Obsolescenza. Perhaps in her willingness to reassert the transient nature of life and her view that each existence has destined to leave only dubious traces, Marisa Marconi in this cycle returns to the fragmented residuals of the image, no longer physically tangible, but only as visual remembrance of that body which the canvas held within its folds. The effects of “wrinkledeness” in her view of time, have so fascinated the artist that she let herself be taken by the casual play of folds that have become prominent in her paintings to the point where the somatic aspects of the image are no longer even traceable. And that is a literal overturning of both visual and conceptual aesthetic values.. From the obvious traces of the human body in Obsolescenza, we pass to the folds made by that body on the sheet upon which it rested. At first she was interested in the radial and irregular rhythms of the folds upon which she began to construct her faceless impressions (Flussi 1991) These folds have now become in her eyes almost a theatrical undertaking. Her “Andare in scena” (Going on Stage) is, of course, highly indicative of that direction.