Storytelling. Renato Mambor in London with his exhibition

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Renato Mambor’s career spans over fifty years period. The roman artist was one of the pop art representatives in Italy with his works where outlines with no face are the star of his paintings and sculptures. Colour is very important for Maestro Mambor sometimes pastel colours some others very bright primary colours that together with his profiles tell several stories grouped in themes. And we’ve got “Road Signs” and “Static Men” or the series of “Everyday Actions”. The Italian Cultural Institute is hosting an exhibition “Storytelling” dedicated to Renato Mambor which will be possible to visit until the 15th of May.

London is the perfect choice for this show given the birth of the Pop Art at the end of the Fifties in the British capital, arriving in Italy in the Sixties. In that period Maestro Mambor embraced all the Arts from painting, sculpture, acting, this last activity saw him in several films among the others the unforgettable “La Dolce Vita” by Federico Fellini.

During the opening of the exhibition “ Storytelling” Maestro Mambor gave a speech saying that he did not want to stay during the installation of his paintings and sculptures because he wanted to experience the emotion of a visitor coming to the show for the first time.

The title given to the exhibition sums the journey of Renato Mambor, where his outlines tell a story, the story of the contemporary man who has lost his distinctive identity and through the past, the nature, and the dreams he is trying to get it back. Italoeuropeo had the pleasure and the honour to interview Renato Mambor.

 

Interview to Renato Mambor by Cinzia Cerbino

 

pittore4Q:What is the poetics of your art?

A:I think the most important thing of my work is the concept of relationship. There is nothing in the world that is isoleted or no related with something else. There are invisible threads that bind the all things, there is nothing in the universe that is quite separate from the rest. The same history of humanity is built up individual experiences, is made up our stories. Everything starts from the individuals and regards the way in which it is related to the rest.

Q:Storytelling” exhibition and a neutral image nearly always present. What does it symbolize?

A:In my current works the grey figures represent my own figure stylized in the act of observing.I use my profile to indicate that the experience is personal. I am the protagonist of the experience but in the meantime I offer to the viewers the chance to become himself an “observer”

Q:What represent the coating in your paintings?

A:The attitude of a deep contemplation distinguishes the details of the observation. In my works I paint separete unity of different techniques that I call “pictorial cultivation”. The spectators point of view can be sensitize into a deeper perspective where the invisible threads of the unity are unveiled. From that dimension the separation between the viewer and the painting as well as between the organism and the environment, between the body and the shadow, between me that I observe and the pictorial cultivation are canceled.

Q:Your painting a continuity with the past or a break?

A:I was part of the cultural revolution that occured during the early 60s as opposed to informal painting. The surface of the canvas, devoid of any external reference, not anymore a mirros but opaque object, has become a blank slate.

The canvas represents objects of reserch that has absorbed signs supporting the bidimensional dimension. During this period I started to draw static men, road signs, stamps and tracing.

pittore3Q:Renato Mambor painter and actor. What in your painting hints at the rule of actor?

A:My current works absorb the whole theatrical experience of fifteen years. My experience involved many rules such as actor but also playwright, director and set designer.I can affirm these experiences have softened the conceptual rigor over the space and the story of my painting. Each time my figure in the works has changed point of view, new space and new relationships has arised . I call them “philosophical position”.

Q:To which painter of the past do you feel closest? To which further away?

A:I feel far away from any painting that affects the emotions of the subject and from the artistic trend defined neo-baroque. This current of thought represents the death as the final separation from the life.

In my painting instead I always search the unitary sense of life.

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