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Sometimes illness helps us find our way and so it was for Marco Orlandi and is portrait drawings. A period of absolute deafness after an accident forced him to become intuitive and more emotional.

Marco came out from that experience better and with awareness of the need to continue to express himself in the language of art: music, portrait drawings and even crafts.

He thought to himself and then also discussed with others ideas about the view of factories nearby and a growing disenchantment among his friends led him to devote much of his energy to a bizarre but ethical idea: to reopen some discontinued operations in these factories.

With the project “Borgo dei Cartai” (Village of Papers) he sought to restore pride to Subiaco, his city. The initial idea that went back to handmade paper at Subiaco, the first paper mill of the Papal States, was later extended to the creation of a center to teach ancient arts and crafts still in demand today.

With his work plan Marco Orlandi travelled to Rome (Palazzo Ruspoli), Florence, Venice, Naples, Ferrara, in New York.

Marco, what are your points of reference?

I taught myself by doing decorative signs on my diaries of school but the spurring on by my companions led me to believe that I could succeed.

As Goethe said: “There is one elementary truth, ignorance kills countless ideas and splendid plans: the moment one is working hard, even then providence moves …” and that happened to me.

How would you define your work?

I think it is an attempt to discover what is behind the natural phenomenon, beyond what can be read in the reality around us. And the attempt to rediscover the importance of things, regardless of their context and free of any relationship.

It is a special privilege to enjoy the essence of an object connected with its shape and boundaries. Form and substance become the same.

What works are you proud of?

The figure of Gandhi, my preferite portrait drawings and an important work of empathy and emotion made in pictorial form in graphite. It has won many awards.

In addiction, I realize works of artistic craftsmanship as bright sculptures using a play of light and wood for which I must associate precision, craftsmanship and design. To these I then add poetic descriptions to complete the emotions that I would like to convey to those who see my work.


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