Mario Borgna - Venice

Landscape has always played a leading role in artistic research, both as a setting and a backdrop, but also as a subject in its own right. The naturalistic description of landscape has been one of the greatest aspirations of artists in every era. Each historical period has given its own interpretation of landscape, contributing to the evolution of its description: first through an exploration of space, using Brunelleschian perspective in the early Renaissance; then through the rendering of atmosphere in the sixteenth century; and finally, in Impressionism, with the representation of every individual vibration of light on objects.

For the artist Mario Borgna, whose aesthetic is predominantly surreal and abstract, representing landscape means using the medium of painting to achieve a delicate fusion between naturalistic rendering and a dreamlike dimension. Indeed, his Venetian views, in which he uses an overtly figurative language, remain anchored in sensory perception. However, reality seems to be transfigured into a lyrical interpretation that almost transports it into a dreamlike dimension. Formally, this is translated into a very delicate painterly approach, in which reality is represented in a rarefied and distant manner. This means that the recording of realistic details and particulars is lost in favor of a more expressionistic and symbolic language. Mario Borgna’s refined painterly touch is an ally in this process, synthesizing objects with great delicacy. The color palette also stands out for its very delicate unnaturalistic tendency, through which the immersion in the chromatic impasto of sky and sea conveys the artist’s poetic sensibility and his almost dreamlike interpretation of landscape.

Mario Borgna (Villar Perosa, July 31, 1936 – Turin, December 28, 2007) was an Italian painter, sculptor, and ceramicist from Pinerolo. He began his career in theater, painting scenes and backdrops, before moving on to religious paintings of churches and chapels in Piedmont and Liguria, and eventually frescoing the "Clowns’ Chapel" in Apricale. The 1970s were perhaps his most productive period, characterized by a continuous exploration of content and form, as well as of techniques and materials. His widespread recognition was the culmination of a long period of work, a journey of study, research, and experience, marked by encounters with and attendance at the ceramic workshops in Albissola alongside Fontana, Lam, Manzoni, Dova, and Scanavino. In 1973, Giulio Bolaffi Editore published a monograph on him entitled "Mario Borgna". In the 1980s, his work was further explored in philosophical terms, with particular reference to Lyotard, his immaterialism, and his studies on the "myths" of Man, aimed at transcending time through symbolic figures. From 1984 to 1992, he participated in international art fairs (Artexpo) in Madrid and Nice in Europe, New York, Los Angeles, Chicago, and Atlanta in America, and Tokyo in Asia.

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