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Tomaso Marcolla – Italy. Special guest @ Roar 3.0, sociopolitical poster exhibitin
By Difuzor GF | 22 May 2019 |

Tomaso is graduated from the Art Institute of Trento and started working as a graphic designer in 1985, is Member of AIAP (Italian association planning for visual communication) and member of the BEDA (Bureau of European Designers associations).

He started working as a graphic designer in advertising agencies since 1985.
“My job consisted of the classic role of the graphic designer, from the creation of a company logo to the advertising campaign, to video commercials, etc. Parallel to my profession, I carried forward what was my passion that I initially developed by creating satirical cartoons. The first prize I receive at a comic competition in the Municipality of Genoa dates back to 1996. Later I started to create posters especially for charitable associations and to raise awareness on social issues. My first poster awarded for a competition was called “peace negotiations” and dates back to 1999 and is made in pen on paper. The last prize, in order of time, is the bronze medal in the international competition “Ecuador Poster Biennial” in the poster section on the theme “Donald Trump” entitled “The wall” and is entirely made in digital”.

“I consider digital art as a different form of art, with some communication possibilities peculiar to more traditional art forms. The choice of the medium in fact always depends on “how” and “what” I want to communicate. However, I remain always fond of traditional techniques (watercolor, acrylic, oil, collage) that I love to experiment and that, unlike computers, offer direct contact with the work”.

“Having an artistic education, in fact I graduated from the institute of art, my posters are often a contamination, a collage of traditional artistic techniques (drawing, watercolor, etc.) with digital computer intervention.
The themes that I tackle in my posters are the values ​​that characterize my daily life such as solidarity, nonviolence, the defense of the environment and so on. That, linking up with current events, I try to represent in an original way that makes me curious, think and reflect. They are often surreal visions, the cow with the straitjacket (mad cow), the pig that shoots projectiles (swine flu), a cross between a sheep and a cauliflower (GMO), a drop of blood that forms the flag of Japan ( in memory of the tragic events that hit Japan in 2011). The first vignettes are born in the 90s and were made with traditional techniques, watercolor, pen, collage (mad cow). The technique has subsequently evolved with the spread of “digital”. Change the technique of realization but the inspiration always comes in the same way: a news of current events, a social problem, a fact that strikes me particularly. Later I try to represent, to intrigue, to make people reflect, in a non-violent way, even on topics that are often tragic”.

Tomaso Marcolla – Italia. Ospite speciale Roar 3.0, mostra di poster sociopolitici

Tomaso si è diplomato all’Istituto d’arte di Trento e ha iniziato a lavorare come grafico nel 1985, è socio dell’AIAP (associazione italiana progettazione per la comunicazione visiva) e membro del BEDA (Bureau of European Designers associations).

Ho iniziato a lavorare come grafico in agenzie di pubblicità dal 1985.
“Il mio lavoro consisteva nel classico ruolo del grafico, dalla creazione del logo di un’azienda fino alla campagna pubblicitaria, agli spot video ecc. Parallelamente alla mia professione, ho portato avanti quella che era una mia passione che inizialmente ho sviluppato creando delle vignette satiriche. Risale al 1996 il primo premio che ricevo ad un concorso di fumetto del Comune di Genova. In seguito ho cominciato a creare dei poster soprattutto per associazioni benefiche e per sensibilizzazione su problematiche sociali. Il mio primo poster premiato ad un concorso si intitolava “trattative di pace” e risale al 1999  ed è realizzato a penna su carta. L’ultimo premio, in ordine di tempo, è la medaglia di bronzo al concorso internazionale “Ecuador Poster Bienal” nella sezione dei poster sul tema “Donal Trump” intitolato “The wall” ed è interamente realizzato in digitale”.

“Considero l’arte digitale come una forma d’arte diversa, con delle possibilità comunicative peculiari  rispetto alle forme d’arte più tradizionali. La scelta del mezzo infatti dipende sempre da “come” e “cosa” voglio comunicare. Resto comunque sempre affezionato alle tecniche tradizionali (acquerello, acrilico, olio, collage) che amo sperimentare e che, a differenza del computer, offrono un contatto diretto con l’opera.”

“Avendo una formazione artistica, infatti sono diplomato all’istituto d’arte, i miei poster sono spesso una contaminazione, un collage di tecniche artistiche tradizionali (disegno, acquerello ecc) con l’intervento digitale a computer.
I temi che affronto nei miei poster sono i valori che caratterizzano la mia vita quotidiana come la solidarietà, la nonviolenza, la difesa dell’ambiente ecc. che, collegandomi con l’attualità, cerco di rappresentare in un modo originale che faccia incuriosire, pensare e riflettere. Sono spesso visioni surreali, la mucca con la camicia di forza (mucca pazza), il maialino che spara proiettili (influenza suina), un incrocio tra una pecora ed un cavolfiore (OGM), una goccia di sangue che forma la bandiera del Giappone (a ricordo dei tragici fatti che hanno colpito il Giappone nel 2011). Le prime vignette nascono negli anni ’90 ed erano realizzate con tecniche tradizionali, acquerello, penna, collage (mucca pazza). La tecnica si è in seguito evoluta con la diffusione del “digitale”. Cambia la tecnica di realizzazione ma l’ispirazione nasce sempre allo stesso modo: una notizia di attualità, un problema sociale, un fatto che mi colpisce particolarmente. In seguito cerco di rappresentare, di incuriosire, di far riflettere, in una maniera non violenta, anche su argomenti molte volte tragici.

Alla mostra sono esposti 2 poster. “The wall” e “Risparmi”

The wall”, 2017, foto e computer grafica, cm 50×70

Salvadanaio, 2008, foto e computer grafica, cm 50×70



Graphic Front

Tomaso Marcolla – Social and Political Values Right Under Our Skin

Without the invention of portable paint tubes, van Gogh would have kept on painting dull potatoes in Holland, and not the southern French outdoors. Without silkscreen printing, Andy Warhol would have remained Andrew Warhola. Technology has always pushed the artist’s vocabulary into previously unknown languages.

Pixels are now replacing paint to suit to the frenzy of our times. Starting out in the 90s by doing collages, internationally awarded artist Tomaso MARCOLLA went digital for the speed of realization. Time is of the essence. Digital art spread via the internet has this desired effect of immediacy. It is the now that counts.

“It’s like having a printer directly connected to my brain.”

Clearly, Marcolla’s brain is, in its turn, connected to the issues of our troublesome humanity: freedom of speech, gender inequality, violence and abuse, economic crisis, solidarity, the preservation of the environment. His works speak for those that are silenced.

Boot imprints walking over the female sign (gender discrimination), or the spanked piggy bank with a cross-shaped hole (economic and religious crises) let the importance of social and political values right under our skin. The latter has been published recently by the French publication L’Humanité to mark its 50th anniversary.

Since he started creating posters, his technique changed, but the inspiration is the same: the news, a social issue, a fact that particularly appeals to him. Marcolla aims to make us reflect, in a surrealistic, non-violent fashion, upon the ills of our times: the crossing between a cauliflower and a sheep (GMO), bullet figure eating out a pencil (freedom of expression).

In 2014, Editioni iod published a book with a considerable collection of Marcolla’s works, some of them bearing international awards. POSTER is a testimony to the artist’s heart and creative quest, a treasure that should belong to any contemporary art lover’s home.

Marcolla lives and works in Trento, the town where he was born in ’64 and studied arts later on. His works caught attention during the past years. 2015 saw five of his works selected along ten other artists and published in the volume 1000 crayons pour la liberté d’expression, in memory of the terrorist attack on Charlie Hebdo in Paris. An incident, which makes artists’ voices like Marcolla’s even more important.

More here marcolla.it

Article by Cynthia Loris