There’s a sense of the fantastic in “Performance,” by Mario Loprete. The oil painting is at once intensely real—from the delicate hairs on the shin to the exposed arch of the foot—and strikingly impossible. We’re left to imagine the body out of frame, its necessary weight and seeming weightlessness, the invisible risk, the assumption of gesture—perhaps hands outstretched in the sky. The painting forces us to consider what is and is not concrete: what can we depend on and where do our bodies fail? Art Editors Heather McCabe and Misha Ponnuraju interviewed Loprete about form, tension, and message in the painting and his practice:
Misha Ponnuraju: Your painting shows an incredible level of detail in the moving feet. How have your experiences as an artist (particularly through painting) shaped your relationship with your body? With the act of witnessing?
Mario Loprete: This painting was a turning point in my artistic project. Until the creation of this work, I painted while trying to understand the techniques of the great masters of the past. At some point, I realized that even though I was creating beautiful works, they were not important and did not reflect my professional growth. So, I decided it was time to “break free” from old patterns and engage in intimate and personal works. The feet on the rope are ideally mine, like a tightrope walker, courageously moving towards a goal, aware of the dangers and difficulties, knowing that only by daring will I reach the end of the rope.
Heather McCabe: You also work as a sculptor. I’m curious about the difference for you in creating in two dimensions versus three. What challenges have you encountered and what solutions?
ML: Painting for me is the first love. An important, pure love. Creating a painting, starting from the spasmodic research of a concept with which I want to send a message, it’s the base of my painting. The sculpture is my lover, my artistic betrayal to the painting. That voluptuous and sensual lover that gives me different emotions, that touches prohibited cords…
For my Concrete Sculptures, I use my personal clothing. Throughout some artistic process, in which I use plaster, resin, and cement, I transform them into artworks to hang. My memory, my DNA, my memories remain concreted inside, transforming the person who looks at the artworks into a type of post-modern archaeologist who studies my work as if they were urban artifacts.
I am both a painter and a sculptor, and my works in these two fields have distinctive characteristics and face different artistic challenges.
In my paintings, I use pictorial techniques to create two-dimensional images, often with a strong realism and attention to detail. My paintings can explore color, light, and texture to convey emotions and narratives.
Sculptures, on the other hand, are three-dimensional and often use materials such as cement, plaster, and other solid elements. This medium allows for a physical exploration of space and forms, giving life to objects that can be viewed from different angles.
In my paintings, I tend to focus on specific details of scenes or people, often leaving part of the image to the viewer’s imagination. This creates an interaction between the work and the observer, stimulating fantasy and interpretation.
Sculptures can represent human figures or objects in a more tangible way, allowing for a physical and spatial perception that paintings cannot offer. These three-dimensional works can communicate a sense of presence and immediacy.
Switching from the two-dimensional representation of painting to the three-dimensionality of sculpture requires a deep understanding of proportions, perspective, and the physics of materials.
Over time, I have developed mastery of sculptural techniques, experimenting with different materials and approaches to transpose my artistic visions into three-dimensional form.
Working with materials such as cement or plaster can present difficulties in terms of manipulation, drying times, and the durability of the finished work.
Through experimentation and practice, I have learned to manage these materials, developing specific techniques to ensure the stability and longevity of the sculptures.
Communicating the same emotional and narrative intensity in sculptures as in paintings requires a different approach, as the expressive means are fundamentally different.
I integrate texture and details into my sculptures to evoke emotions and stories, similar to how I do in my paintings, but leveraging the unique qualities of three-dimensionality to enrich the visual and tactile experience.
In conclusion, with the dual ability of a painter and a sculptor, I can explore different dimensions of artistic expression, overcoming challenges through innovation and technical mastery.
MP: You describe painting as your first love. How has this love story evolved for you over time?
ML: My artistic evolution over time reflects a deep connection and growth that has enriched my creative journey.
I started my artistic career focusing on traditional painting, exploring classical techniques and conventional subjects. My art education helped me develop a solid technical foundation, allowing me to express my ideas with precision and skill.
Over time, I began experimenting with different materials and techniques, pushing the boundaries of traditional painting. This phase of experimentation included the use of unique textures and the integration of three-dimensional elements into my two-dimensional works.
My artistic evolution has led me to greater depth in the themes I address. I have explored contemporary and personal issues, reflecting on social dynamics and the human condition. My style has become more refined, distinctive, and recognizable, with bold use of color and form.
In a later phase, I began incorporating new media into my works. This not only enriched my artistic expression but also created a dialogue between traditional painting and modern techniques, such as sculpture and installation.
In recent years, I have expanded my artistic practice to include performance and installations. These multidisciplinary works demonstrate my continuous evolution and the ability to reinvent my first love for painting in new and dynamic contexts.
I have always sought to create a connection between art and everyday life. This philosophy is reflected in my recent works, where I often integrate common objects and unconventional materials to create a stronger bond with the audience.
My love story with painting is one of growth, exploration, and transformation. Starting from a solid foundation of traditional techniques, I have continually pushed the boundaries of my art, integrating new ideas and media. This evolution reflects not only my personal development as an artist but also my ability to adapt and innovate, always keeping my passion for painting alive. This artistic journey demonstrates how a first love can evolve and enrich over time, remaining an inexhaustible source of inspiration and creativity.
HM: I’m interested in the various tensions within the painting: the rope, yes, and the incredible feat we imagine above, but also the contrast between the organic forms of the rope and body against the hard edges of the railing below. How do you think about the organic and the seemingly inorganic?
ML:The image represents the feet of a person suspended on a rope, with a blue sky as a backdrop. The pose suggests balance and tension, and the feet are detailed with precision, highlighting muscles and tendons.
The organic elements in the painting are represented by the human feet. These feet show meticulous attention to anatomical details, emphasizing the texture of the skin, the folds, and veins, evoking the vitality and fragility of the human being. The organic, in this case, is a symbol of life, movement, and balance.
The main inorganic element is the rope, a symbol of staticity and support. Although the rope is man-made, it is made of natural materials but treated and braided into a functional form. The rope represents stability in contrast to the precariousness of human life suspended on it.
The interaction between the human feet and the rope creates visual and symbolic tension. The rope supports the person but at the same time limits their movements, forcing them to maintain balance. This can be interpreted as a metaphor for life’s challenges, where one must continuously find a balance between the opposing forces of nature (organic) and culture (inorganic).
The image can be read as a reflection on the necessary balance between the organic and the inorganic. The feet, representing life and dynamism, must navigate the stability imposed by the rope. This balance is essential for progress and growth, indicating how one must adapt and find harmony between the natural and the artificial world.
The work suggests a dualism but also a complementarity between organic and inorganic. Without the rope, the feet would have no support; without the feet, the rope would lose its purpose. This suggests a reciprocal dependence between the two elements, emphasizing the interconnectedness of nature and culture, life, and structure.
In “Performance” by Mario Loprete, the organic and the inorganic are in continuous interaction, creating an image that explores human fragility and the necessity of balance. The representation of the human feet balancing on the rope is a powerful metaphor for the human condition, always teetering between the natural and the artificial, dynamism and staticity, life and structure.
This analysis shows how Loprete uses these elements to express a profound and complex vision of the human experience, where the balance between the organic and the inorganic is fundamental to our existence.
MP: You said you start your painting with a research concept and a message you hope to convey. What message do you convey with this painting? Did that message change during your artistic process?
ML: One of the most fascinating aspects of my art is my research and exploration of urban identity and metropolitan life. My pictorial works seek to capture the essence of city dynamism, using vibrant colors and complex textures to represent the energy and frenzy of modern cities.
In my project, I have always tried to use symbols and images of pop culture intelligently, inserting them into the dialogue between the past and the present. This fusion of traditional and contemporary elements is not simply decorative but has served me to explore profound themes such as anonymity, individuality, and social interconnectedness.
In summary, my painting has become over the years a complex narrative that reflects the fragmented reality of modern life.
HM: I love the fact that I’m left to imagine the person outside the frame. When you paint, are you aware of leaving something out? Or are you primarily focused on what is in focus?
ML: A prerogative of my work is the invitation to the viewer to imagine the person outside the frame. This approach suggests an intentional awareness of what is left out of the direct representation. I am aware that by omitting specific elements, I encourage the observer to complete the image with their imagination, creating a more personal and interactive connection with the work.
I pay particular attention to what is in focus in the painting, highlighting details that stimulate the viewer’s curiosity and interpretation. In this way, my art not only represents a scene or an individual but also opens up a space for narrative and imagination