MARCO
LA ROSA

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Marco La Rosa (Brescia, 1978). In 2011 he graduated in Visual Arts at the Santa Giulia Academyin Brescia, where he has been teaching since 2018 after graduating in 2005 in Law. Since 2011 he has exhibited in Italy and abroad, mainly group exhibitions at museums and cultural institutes, including: Centro San Fedele in Milan (winner of the award in 2012), PAV in Turin in 2013, Museo Diocesano Tridentino in Trento in 2014, Museo RICE in Palermo in 2014, Casa Matei Corvin, Cluj-Napoca, Palazzo della Permanente in Milan in 2015, MAC in Lissone in 2016, San Rocco Museumin Trapani in 2017, Palazzo Ducale Mantova and Castello di Lajone in 2018, Venezia Art Factory for Metaxy art collective of IUAV in 2021; among the recent solo shows at the Paolo VI CollectionMuseum in 2016, Spazio Cordis in Verona in 2019, Palazzo Bertazzoli in Bagnolo Mella in 2020, A+ B gallery 2011 and 2016.

The ideal arc of a modernity which - starting from neo-plastic research, up to minimalism and its post-modern versions - aims to synthesize reality and understand its essence is the humus from which the search for Marco La Rosa, mixed with reminiscences of an archaic past and centrifugal thrusts of the burning contemporaneity.

His works embrace the metaphor of travel, both in space and, in fact, in time. In this latter sense, the sculptures of the Days series are exemplary, in which the artist regularly translates daily parentheses of experience into a few, simple elements: color, materials, shapes. The plastics of the Pelagos series feed on references that go even further back, making the times of the myth the irown, including some suggestions from classical epic literature. Echoing the journey of the Homerichero, the works concretize some episodes of a longed-for and universal homecoming. The speculative suggestion is combined with a rich and diversified aesthetic practice, which lingerson precious details such as the treatment of the surfaces, the refined chromatic choices and the variety of the materials used that introduce reason into the bed of poetry, culture into the flow of life. Exemplary is the Dodecahedron, one of the five Platonic solids, a mysterious object of study since ancient times. It was in fact the philosopher Plato who associated these solids with each of the elements: after fire, earth, air and water, the ether, matter of the celestial bodies and of the soul, was assigned to the dodecahedron. However, the solid can only paradoxically appear to usas a manifestation of the sensible world: open to the poetry of matter, it will be a distant memory of that world of ideas, as coveted as it is elusive and impossible.

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