Mario Russo - Five Serigraphs

These silkscreens by Mario Russo are clearly the product of unconscious mental processes: dream interpretation, mental associations, and quotations. By triggering these mechanisms, the artist develops the sophisticated iconography of this series of prints. These prints, due to their bizarre juxtapositions and the sense of alienation conveyed, can certainly be classified within the broader family of Surrealist art, but they are distinguished by a more intellectual bent, veering toward the realm of so-called "Cultured Painting."

When we talk about quotations in painting, we always move within the realm of a figurative interpretation of the subject, to the limits of hyperrealism. Here too, we find ourselves faced with images crafted with meticulous attention to detail, in which every detail is meticulously defined. However, the limitations imposed by the technical medium of silkscreen ink, which precludes the use of shading and creates shadows through hatching, highlight, in this series, Mario Russo's extraordinary drawing ability, which is secondary in his paintings. From a chromatic perspective, the silkscreens, through printing on differently colored sheets, seek to convey different suggestions or emotional states.

From Greek sculpture to Fellini's cinema, Mario Russo was a painter open to a wide range of influences. Fragments of memory that he poured into his canvases, creating fascinating iconographies and unsettling juxtapositions. For these reasons, Mario Russo's art can be included within the "Pittura Colta" movement, which proposed a type of art inspired by the citation of images from the world of history, archaeology, and literature. Formally, as in Russo's case, it is an artistic movement that rejects all experimentalism in favor of formal and compositional rigor. In the specific case of these silkscreens, in relation to Mario Russo's artistic career, it should be remembered that many of the Neapolitan artist's works contain an exploration of the relationship between man and machine. Indeed, even in these prints, we can note the presence of metal parts, gears, and bolts that interfere with the subjects depicted.

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