Marina Taroni… Into the wild

Nature, in its universal and sublime beauty, is the absolute protagonist of the works of the Artist Marina Taroni, whose paintings are not passive landscapes but a language that translates them into an inner experience.

The artist was born in Como in 1960 and spent the first twenty years of her life by the lake, absorbing all the harmony of those elegant places with their unique charm. In a natural setting amidst enchanting architecture such as the Renaissance Villa d’Este, Marina breathed in that beauty steeped in history, art and nature. While still very young, she took part in group exhibitions from which she earned her first awards. Her language studies led her to work in Milan on the prestigious editorial staff of the fashion magazine Harper’s Bazaar Italy and France, where she developed and matured the refined aesthetic taste that still characterises her excellent work today.

In the 2000s, Marina left Milan to move to the countryside in Besano, Unesco World Heritage Site, located on Lake Lugano. Having always been interested in art, she began to attend the atelier school of maestro Michele Ferrari, who reawakened her desire to approach painting again after years of journalism. A flourishing garden where she learnt to develop her intuitions and creative potential, finding her own personal pictorial path. In fact, the artist rejects all artistic currents to follow her own path.

With her strong and passionate character, Marina exhibited and published her works in prestigious contexts alongside the presence of big names such as Andy Warhol, Salvador Dalì, Pierre Fernandez Arman, Marco Lodola, Mimmo Rotella, Konstabi and many others. An artist of international standing, her works are exhibited throughout Italy and the world. From Milan to Rome, Venice, Florence, Lake Como and Sardinia. Taroni has been to Dubai, New York, Abu Dhabi, Paris, Amsterdam and Monaco several times – it is impossible to remember all the places.

The immanence of nature makes her paintings powerful and evocative, real theatrical stages full of pathos where nature is not the poetic description of a wild and solitary landscape but an exploration of inner places beyond the real. It is the aesthetics of the sublime, the incontrovertible attraction one feels in front of the majesty of creation, generating a feeling of disquiet and fascination.

Her works should be observed, meditated upon and made one’s own. Marina asks the viewer that the canvas becomes a door to cross, an opportunity to approach an introspective, metaphysical universe. The titles accompanying them are linked by an invisible thread of philological symbolism and become the key to interpretation to open the passage between matter and spirit. Apparently absent, man is not represented because he has yet to be born or has already been. He is the sole spectator of a before or an after, of a non-place in a non-time. We, alone, in her mind without points of reference and orientation, lost as if suspended in the womb.