B.Zarro

B.Zarro, (Rome,1955), has experimented with, informal, gestural, abstractionism, figurative, conceptual, Dadaism, expressionism, performance and appropriation art; painting, sculpture, Architecture, photography, literature, archaeology, anthropology, all in a symbolist and prophetic key. He used all his bursting conceit, yet put his face to it, with courage and intellectual honesty.

Opera

Italian Post Communist Manifesto: Working Capital.

One of the Roman Artist's most effective works, the 1975 Rolls Royce Silver Shadow, the quintessential British automobile and model of a tenacious conservative luxury, is metaphorically overturned by B.ZARRO's post-Dadaist model. The Artist chooses to place the Rolls Royce in front of the BNL (Banca Nazionale del Lavoro) and in symbolic places such as Via Veneto in Rome and Venice, accompanied by Achille Bonito Oliva. The final setting is the Vulci Archaeological Park. The Rolls Royce, degraded and abandoned on the path of the Vulci Archaeological Park proposes various elements for reflection, denouncing the risks of a humanity engulfed by money.

The Crucifixion

In October 1999, I was standing outside the space I had allocated for my Temporary Gallery, on Via Gregoriana, corner of Via Capo le Case. Suddenly I was attracted by something, more perceptually than visually, that brought my attention, to the end of the street, where at the intersection with Via Due Macelli, a Truck was passing by for the Transport of material from the dismantling of an apartment. I felt that there was something on it that piqued my interest, although, given the considerable distance, I was unable to make out its contents. I took my Motorcycle and decided to chase it, along the path, to ascertain the interest. Reaching him, at the end of Via del Babuino, I saw that on top of the load, there were some Fragments of old chairs that confirmed my interest. After asking the driver what Destiny envisaged for His load, I agreed to buy it myself in case he had the interest to bring it to me in the House at Fleming with garden in which I lived at that time and in which my Destiny in Art was born. Having established the price and the agreement I told him to follow me toward the House. Below which, after unloading only the chairs, I gave him the total amount of the contents and merely had him give me the parts of the chairs. Having entered the House and placed them in the garden, I began to work on them with simple instinctive gestures of red brush strokes. I understood, immediately, that they had become the Symbol of the Crucifixion, with Christ and the two Thieves.

Blooming Virgin

The installation "Blooming Virgin" depicts a Madonna surrounded by flowers, emerging delicately from them, evoking spring renewal and Marian sacredness. This installation represents a bridge between the sacred and the natural, uniting the spiritual purity of the Madonna with the abundance of spring blooms. The month of May, traditionally dedicated to the Virgin Mary, thus becomes the perfect time for this visual and symbolic celebration. The flowers, with their ephemeral beauty, recall divine grace and the cyclical nature of life, horing visitors with an immersive experience of contemplation and devotion.

Edited by

Matilde De Giovanni and Asia Scotti