mARIANNA PAGLIERO

MY ART

Hi, I am Marianna!
I am Italian artist, 
Born and raised in a small lovely own near the Alps, in the North-West of Italy, I studied Fine Arts in the Fine Arts Academy in Torino (Italy), where I got the three-years degree in Sculpture and the Master degree in Painting. 
There I had the fortune, with teachers very different from each other, to develop either an academic approach (now mainly expressed with paintings) and a contemporary and conceptual approach. 
This last is actually the most interesting, for me to explore: my installations are a trip between music, rhetoric and visual arts, they are a different way to study and translate musical pieces, or scores, in a physical way.
I study music since I was seven, piano. In the past few years I had the great opportunity to become aware of the amazing word of the historical piano researches, the early keyboard instruments and the philological approach to music scores and performances. 
That knowledge has been enlightening, they opened me to a new point of view. 
Why do I say that? Well, because what I do in my installations is to use that philological approach to understand the codes I am investigating in a musical piece (harmony, rhetoric, polyphony etc.) and translate them and propose them in a different form. 
Like playing them in another way. 
Installations are my possibility to express myself, and put together all my passions. 
Installations can put together the different natures that live inside me: artist and musician; historical/old fashion and contemporary.

CRITICISM


LO CHIAMEREI STUPORE 

Dovessi attribuire un nome a quanto sperimento faccia a faccia con un’opera di Marianna Pagliero, lo chiamerei Stupore. Meraviglia e stordimento, un traballare sulle gambe mentre vengo pervasa e chiamata dentro la tela, quel genere di sentimento – oltre l’emozione, poiché perdura e riverbera nel tempo –  che mi trasvola dall’ordinario al sublime. E costituisce una preziosa opportunità di addentrarmi in quanto di misterioso la Bellezza ancora racchiude e custodisce. Il fiore segreto, la vetta inviolata, il guado all’Universale.

Non parlo di analisi di tela o allestimento: nello specifico, non sono un’addetta ai lavori, semmai qualcuno che tenta, con le parole, di descrivere un fiume dalla sorgente alla foce, il percorso – per come lo immagino – dalla prima bozza all’ultimo tocco, dall’idea dell’artista all’approdo del lavoro concluso alle rive della mia sensibilità. Uno scorrere in cui ogni pennellata è acqua immissaria che amplia la portata della visione, che aggiunge densità al messaggio. 

La pittura di Marianna Pagliero è membrana permeabile, pelle che respira trasuda e accoglie, scandaglio e apriscatole di una dimensione interiore che squaderna se stessa nella pienezza della nudità, declinata su due livelli: quella del corpo (soggetto, più che oggetto, amoroso di studio) e una più intima. Poiché Arte è accostarsi quanto più possibile al Vero, questa artista offre dunque se stessa e il suo talento, il proprio codice, la sensibilità tutta e il linguaggio personale, e ben oltre gli autoritratti. Ogni corpo, ogni oggetto, ogni dettaglio della sua produzione sono parte di una manifestazione di identità e intenti. 

E se un artista, sebbene abbia anni di studio alle spalle, non smette di ri-cercare, nelle sue opere troveremo traccia di un patrimonio che nel tempo sedimenta e fiorisce. C’è poesia, nelle tele di Marianna, il rimando alla classicità delle Lettere, alla mitologia, all’epica. Ci sono la passione di Leonardo per il dettaglio anatomico e il chiaroscuro di Caravaggio, la sua scelta di utilizzare a modello corpi veri, belli in quanto tali e non in virtù di una perfezione tanto forzata quanto, a tratti, posticcia. E c’è musica. Nella misura delle proporzioni, nelle scansioni di luce e penombra, in ogni modulazione espressiva, nell’armonia che ne deriva. E suona chiara.

Torno allo Stupore. E concludo. Come in un canone di Bach.
Senza Stupore, non siamo vivi davvero.
Senza Stupore perdiamo il tormento beato delle arti tutte.
Senza Stupore, lo vedi il mondo?
Ratti sulle corde, la corte dei miracolati,
l’invito all’ansia del consumo vorace e lineare,
l’inganno dell’avere senza essere
salvati, voglio essere rapita dai colori di una tela,
dall’ombra di una navata, mandata al confino
per farci l’amore,
con lo Stupore a suonarmi
i tasti rossi del piano.

Silvia Longo 


I would call it Awe

If I were to give a name to what I experience face to face with a work by Marianna Pagliero, I would call it Awe. Wonder and astonishment, a staggering on my legs as I am overcome and drawn into the canvas, that kind of feeling – beyond emotion, as it lingers and reverberates over time – that transports me from the ordinary to the sublime. It constitutes a precious opportunity to delve into the mysterious that Beauty still contains and guards. The secret flower, the inviolable summit, the ford to the Universal.

I am not talking about canvas analysis or exhibition setup; specifically, I am not a professional in the field, rather someone who attempts, with words, to describe a river from its source to its mouth, the journey – as I imagine it – from the first draft to the final touch, from the artist's idea to the completion of the work on the shores of my sensibility. A flow in which every brushstroke is a tributary water that enhances the depth of the vision, adding density to the message.

Marianna Pagliero's painting is a permeable membrane, a breathing skin that exudes and welcomes, a probe and an opener of an inner dimension that unfolds itself in the fullness of nudity, expressed on two levels: that of the body (subject, more than object, a subject of study and love) and a more intimate one. Because Art is about approaching the True as closely as possible, this artist, therefore, offers herself and her talent, her own code, her unique sensitivity, and a personal language, well beyond self-portraits. Every body, every object, every detail of her production is part of a manifestation of identity and intent.

And if an artist, even with years of study behind, continues to re-search, we will find traces in her works of a heritage that sediment over time and blooms. There is poetry in Marianna's canvases, a reference to the classicism of literature, to mythology, to epic tales. There is Leonardo's passion for anatomical detail and Caravaggio's chiaroscuro, his choice to use real bodies as models, beautiful for what they are, not forced into a perfection that is as contrived as it is at times artificial. And there is music in her work. In the proportions, in the play of light and shadow, in every expressive modulation, in the resulting harmony. And it plays clear.

I return to Awe. And I conclude. As in a Bach canon.
Without Awe, we are not truly alive.
Without Awe, we lose the blessed torment of all arts.
Without Awe, do you see the world?
Rats on the strings, the court of the miraculously saved,
an invitation to the anxiety of voracious and linear consumption,
the deception of having without being saved,
I want to be carried away by the colors of a canvas,
by the shadow of an aisle, sent into exile
to make love to us,
with Awe playing me
the red keys of the piano.

Silvia Longo

ART EXHIBITIONS AND PRIZES

 2020 February, 21
STUKAFEST
At Rotterdam, with a musical performance and an installation inspi red by the music of “Dido and Aeneas” of Henry Purcell (1689)

2019 December
DOMUS ARTIS MATER
1st prize at the painting competition Domus Artis Mater At Caserta (Napoli, Italy)

2018 May 10 – June 3
TRAMANDA
 At Accademia Albertina delle Belle Arti di Torino (Italy) with a work, now part of the permanent collection of the Collezione Civica di FIBER ART of the city of Chieri, Italy

2016 June 18 – July 17
RESTART – TRAME D’AUTORE
Young Fiber Art Contest At Imbiancheria del Vajro, Chieri (Italy) 2016

July 1 – October 31
ACADEMIAE
Youth art biennale At Forte of Franzensfeste (Italy) 

download my portfolio