Biography
Marco Ceccarini from Urbino (Urbino, 1952). If the choice of the type of colours to be used originates from the study and comprehension of ancient painting techniques, the poetry in the works arises from the enchanting reading of the Qumran rolls translations: incredibly relevant as well as incredibly ancient. A global fusion between feeling and doing which springs out and none of the two being more prominent. But there is a balance strengthened by a maniacal study of the signs: nothing is left to chance but – according to the artist’s intentions - the imponderable final result which aims to reach the individual ‘heart’ eliminating those defences rosen by induced prevention, defences that spontaneously arise when something else is hinted to, when we move from aesthetics to ethic.
This is how the ‘Homo Pavonis’ was born
Every man knows his own ‘twin’ as well as his own ‘shadow’ and is aware of his ‘serious, civil and even crazy rope’ quoting Luigi Pirandello. And that ‘civil rope’ is the ‘mask’ (persona, in Latin) that the man exposes to the others and to himself. It is also true that without the presence of our twin walking by our side (or rank, alter ego) we could not be aware of our secret desires blinded in the depths of our soul… we would have no guardian angel, no dream of the night, the face of death that permanently deprives us of our shadow since it turns off the light forever, quoting Galimberti, ‘the phisical and earthly one’, adds Ceccarini.
We live with our shadow and we perceive it as our darkest and most negative side, the part to be avoided and to escape from. ‘Still, as Jung writes, to meet ourself essentially means to meet our own shadow. The shadow indeed is a mountain gorge, a tight part whose grasp is not spared to anyone descending to the deep source’ (U. Galimberti). Dialoguing with our most hostile part of ourselves represents the inevitabile path to reach the ‘deep source’.
