One wonders what is the path – sometimes slow and tortuous, other times linear and almost lightning-fast – that leads the designer from the first still limp and shapeless intuition to the absolute and necessary precision of the final result. We are also amazed at the delicate and elusive alchemy that feeds a practice made up of dreams and reflection, improvisation and method at the same time.
In Mario Trimarchi’s universe, this fascinating process is always interwoven with a strong poetic dimension that feeds on memories, sensations, visions and illuminations. And the final result, while never losing sight of the functional dimension of the object, is always inhabited by the light breath of poetry, where shapes, geometries, materials, lights, colors and intentions appear constantly filtered by the changing texture of emotions. His unexpected and unsettling objects, apparently the children of an unstable equilibrium, are full of charm and distant echoes. And the same goes for the drawings that testify to the different phases of the inventive path, successive stations of a sort of
narration of creation.
The exhibition entitled “Mario Trimarchi: a radical romantic. Reflections, drawings and objects in balance “seeks to reveal the creative plot that led to the creation of the final object. The designer of Sicilian origin, but Milanese by adoption, invites us to enter his creative laboratory to closely follow the different phases of a process which – by association, rejects, pauses and accelerations – gradually transforms initial intuition in the concreteness of the final result. Following this path is an exciting journey full of teachings.
Fabio Gambaro, Director of the Italian Cultural Institute of Paris (from the catalogue of the exhibition)
A believer in the project as a viaticum to generate relationships. Sicily is for him an abacus of elements that he classified and portrayed through drawing. This type of investigation was born as sentimental and has been transformed over time into a taxonomy of types, textures, atmospheres and materials. There is no nostalgia, nor indulgence. There is testimony and epic of everyday life. Drawing is the medium he uses to deposit all this. The drawing is for him a starting point, a binary trace, a witness to that creative relay that is born in the sketch, is perfected in the project, it adjusts in the prototype and aims in the product.
The echo of the noble oriental ceremonies, the powerful presence of the minimum, the evocation of the archaic are the cards that the dealer mixes with skill. A coffee pot, a pudding mold, a basket, a glass become architecture for the table but they still hold their breath in the drawings, they are not yet possessed by that animism that inhabits Italian design. They are narratives, they are paintings. They are dioramas of a life that Trimarchi disassembles and reassembles every morning in the Milan studio with his collaborators. Before becoming files to be sent, they are slow drawings, accurate tasks that he would not want to hand over to the teacher, the company, the gallery but which in the end come out of the sheet, breaking the frame, getting fat, coloring and multiplying. At the Hôtel de Galliffet he sets up an exhibition in six acts, rigorously drawn, almost all in black and white, like those children’s sketchbooks that each of us would like to own and browse.