Review

A long time ago the literal and compliant view of painting, was transformed into a direct approach with the reality of the sign, the gesture, the colour and the symbolic elements in the painting. As Marison herself so eloquently puts it “the knowledge that we have invented our world does not erase the possibility that we might interpret it and challenge it from the inertia of the permanence.”

Marison Ray

The artist challenges the inertia

One’s attention is snared by the embrace of colours surging across the canvass enticing and propelling the viewer into the paintings. The threshold is breached in the use of the figurative element that has entered into the understanding of elements of construction.
Already, on stage, there are the historical references to Paolo Uccello, as if they were funnelled irresistibly forward: past the history into the present time.
Between the bulging piles of personal material that emerge, at the edge the colour is the main protagonist of the concrete space with the repetition of chromatic waves and circles.
One’s eye keeps travelling within the painting, beaming through the colours and the transparencies to be arrested, at last, by the experience of visual elements.
The incursion into the fabric of the painting reveals itself clearly: in that the temporary illusion of walls propped up by makeshift textures and partitions, which have been presented by the artist, are infringed to reveal the structure of the painting as a futurist penetrating into neighbouring spaces with the enjoyment of colour in a gestured approach.
A consistent and determined artist who uses a mixture of materials and elements relating to the painting to disclose the order of the surface and inner structure. The painter is committed to a site-specific project into the canvass. The playfulness of the paintings make reference to the notion of an ‘in-situ’: a more autonomous and abstract formal logic of personal discovery of rhythms and symbolis meaning.
A retreat for us to a neutral zone in order to survey the whole from a distance reveals an unexpected discovery, harmony and resolution of intention. The painting becomes coherent as the spectator adjusts to the new role: from agent in a recognized drama to observer of a pictorial display, spread under a transition and immersion to an overview of a personal lecture and understanding of the composition of the painting.
The painting subject is for Marison an engagement and a contemplation: it is, literally, physically acted out in the shift from the interior of her own considerations to the exterior of a work that embodies all types of experience to date. In art, it is difficult to separate the actual and the experiential from the evoked and invoked: to mark the boundary between physical and mental space.
Other routes through similarly complex transformations are, of course, also possible. The preordained, is encouraged in her work, with the personal references of the object and its pure abstract potential in her brush stroke. Marison is there to act in moving across the peinting: moving through real space in actual time in order to comprehend it fully. We can never be separated from the metaphorical journeys that accompany the physical inhibited world of the artist.

Marison, by establishing the elusive textures, achieves a pictorial resolution that requires the suppression of meanings amid the disintegration of readings. I read her painting as an abstract effort to convey reality rather than an attempt to put meaning in the painted composition.
The level of abstraction and formality on which her compositions function is also a narrative play and only a remnant role in her art.
The carefully orchestrated choreography of texture and colour is the attraction for the viewer that is constantly beckoned by the appearance of unexpected features, coaxed forward by the introduction of novel colour accents, or of new chromatic relationships in a schema that boldly counterpoints a myriad of hues. The taste for a sequence of perceptual, visceral, and somatic experiences based in change, relativity, and variation, is charged, but unforced with the “abstract” elements.
This show installation approximates as much to a mental projection or an imaginative construction as a scenographic model applied to her life. On one level provisional, even hypothetical, on another it is obstinately present, concretely rooted in the space, tied and tethered to the physical fabric of the painting.
She disagrees with any stylistic formulae, and she is for the plain intensity that brings the contamination of reality and dreams together.
Marison is engaged primarily with producing reality, with taking the painting as the word, making the painting the reality that communicates with the spectator.
Marison construct, usually via a form of nonlinear narrative, typically fusing personal memories within a larger historical compass of visual adventures. Her key works are rooted in childhood experiences or in cherished memories: memories that are ultimately neither subjective nor autobiographical.
Growing up in Turin her adolescence was shaped by Design, Pop culture, mass communication and television and, subsequently, courses in visual communications and art, which allowed her to consolidate her early fascination with contemporary art and culture as well as giving her an extensive axposure to an enormous range of works from the history of twentieth-century film, video and photography.
Her independence from a specific painting school fostered a free idea of transformation and through that the issues of losing and separating against the need to comply with any scheme. The brief story of her artistic career is notable and her assimilation with the Master Ezio Gribaudo in some of the painting.
Ultimately, the content of her work is not exclusively hers, or local, or indigenous to a school but bears more towards an interpretation of personal dreams. The work speaks for generic and familiar ties in broad, layered and interpretative terms.
Marison transforms her miscellaneous sources into strangely haunting but insistently open-ended statements of colour.

Victor De Circasia

One of the most well known English critics in Europe, curator of many exhibitions and events. Visiting professor in numerous European and Americans fine art faculties, including the MIT of Massachusetts and the Royal College of Art, London. He is member of the Royal Academy of London and the Academy Carrara of Fine Arts of Bergamo, Member of the TATE gallery committee and the Royal College of London Yorkshire Sculpture Park, Royal Academy of London and of the International Sculpture Center USA. Trustee of the Tom Bendhem Trust of London.