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2020The Bad Year n. 7 (all lines - white on black) - Limited Edition of 10 Artwork

Marina Profumo


Mixed Media, Digital on Plastic

Size: 25.2 W x 25.2 H x 0.2 D in

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This artwork is not for sale.
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About The Artwork

2020 The Bad Year n. 7 refers to the dramatic situation created by Covid19 The work is part of the series called "Talking Pois". This is a custom alphabet. Each letter is inserted in a circle and colored creating a particular chromatic effect. These little spheres are the "Talking Dots" and are used to write short sentences. One version involves a real treasure hunt as the sentence is in the center of the work, the first line reads from left to right and the following from right to left. Above and below are the letters that make up the sentence, inserted in random order creating confusion. Another version instead provides for the sentence to be written in an orderly manner, starting from the first line at the top, reading from left to right and the next from right to left and so on. 2020 The Bad Year n. 7 is part of the second version, i.e. with all lines readable.

Details & Dimensions

Mixed Media:Digital on Plastic

Artist Produced Limited Edition of:10

Size:25.2 W x 25.2 H x 0.2 D in

Shipping & Returns

Delivery Time:Typically 5-7 business days for domestic shipments, 10-14 business days for international shipments.

Marina Profumo was born in 1960 at Ceranesi, near Genova, where she still lives. Despite her natural gift for artistic subjects, her studies and then her work are far from them. Yet her bent and eagerness to express herself, to show her feelings, to portray her anxieties, to materialise themes dealing with human nature instinctively lead her to paint. Her first oil paintings go back to 1978. They are very introspective and intense works. For example, the paintings titled "Verso il futuro" ("Towards the Future") and "Tempesta" ("Storm") belong to that period. She tirelessly keeps painting aloof from everyone. In fact, it is only in 1998 that she decides to organise her first exhibitions. A broader audience can finally admire her works, such as "La Via" ("The Way") or "Resistere" ("Hold On"), where the hard and difficult aspect of our life shines through, "Dualità" ("Duality"), with the eternal attraction/repulsion, coexistence/separation of good and evil, "Supplica Sterile" ("Useless Plea"), the weak's prayer to the powerful to stop abuses, as well as "Il Dono" ("The Gift") or "Gli Innamorati" ("Lovers"), where wonder and sweetness tenderly surround the onlooker. They are surrealistic images, which indeed do not draw inspiration from any current in that it is painting coming from an introverted isolation and the fruit of Marina's personal inspiration. As she often says, they are paintings to read carefully. Lately, her love for colour and impressions, as well as her need to try new, different, and less explicit ways to express her emotions, has caused Marina to become extremely essential. Around 2003, new works are painted. The intricacy of her subjects changes, images get easier and are reduced to the minimum: colour, movement, depth, and, above all, light. Light is not merely an optical effect, but enlightenment of the mind, heat of the heart, a mirage of fullness and happiness. Before these canvases, our eye and soul move freely and fluctuate, hypnotically attracting each other. They are dragged into the paintings and we are forced to meditate. From introspection to meditation, and then to the analysis of the world around us: the artist slowly changes her perspective focusing her interest on modern man's behaviour and its effects. Starting from 2006 topical issues recur: one has works on global politics, such as "Political Meddling" and "White Arrogance", and on women, such as "Free" and "Soar".

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