Mary

Cinque

Artist


  • Acque chiare

    In some of her boards Mary Cinque offers a sort of apology of common, apparently banal moments (“shots where nothing seems to happen” as she wrote in the exhibition catalogue book), while in all the exposed pieces the value of transiency is remarked by the intrinsic nature of flowing (and colouring) water. Moreover, both the framing and the rendering solution she adopted are able to give a more clear, less superficial view of reality; a more authentic experience of it.
    The long elaboration time of each piece, the subject chosen and the episodes of “re-writing” a same scene in different tones, make the whole series to appear as a sort of Mary’s private journal.
    “First of all – as Massimo Bignardi wrote in the catalogue book - it is to be noted the dimension of the support on which Mary’s hand operates: small sheets of cardboard that, having almost the same size of a postcard, give the idea of souvenirs and evoke imaginary mail exchanges; in practice they form a special channel through which being in touch with memory. Then the support and the technique used. As regards the former, Mary’s choice was a rough cardboard able by nature to offer some materiality; an irregular surface that is creasy and porous in the same while, facilitating th thickening of her fluid touch of the brush in spots and in irregular backgrounds rich of both blurs and frayed water halos. In other words, a surface that makes easy the appearing of folds, just like a living skin yields to the passing time and its inexorable effects. The technique here adopted by Mary Cinque is watercolour: the simplest but also the most mental one. Initially the artist used the industrial tablets for fine arts; then the thirst for a more personal colour induced her to elaborate it from the basic dyes, following an alchemy that – fortunately – is still part of art praxis. The painting technique is mental – as I said before – in that it renounces a priori to any saturation and proceeds through passages of minimal tonal change at the expenses of the maximum brightness, represented by the white of the sheet. It is like proceeding by substractions of light, leaving to the edges of coloured areas the tasks of organizing the spatial architecture and of revealing human preferences by showing the essence of alla forms in the scene. Mary Cinque subverts the process: she lets the white assume the role of cast of an opaque body which selects and reduces the transit of light while to the colour she assigns the same role that Man ray – in his shots – assigned to the light.”
  • Display

    “Display” series' paintings, an investigation of industrial design. "Begun in 2008, when I was living in Milan, as a tribute to the idea that Milan is the italian "design capital - as the artist puts it - actually [the paintings] are (the series is a work in progress) a tribute to human being and his ability to imagine, create, build with his own hands and his own intellect, beautiful, usefuland even dangerous objects. The project's aim is to remind us that we are capable of anything. I continue paintingt objects whose design boggles me but that I don't want to possess. In a cathartic attempt to get rid of itch for possession that society imposes on us, I depict them. "
    Reasoning about it with a friend, the writer Rosario Cuomo, the artist began to give form to the parallel series which the two of them have always called "Display of Italy" and about which Cuomo writes: "In 2010, Neil MacGregor, British BBC Radio 4 speaker, launched a challenge in the ether: telling the world history through 100 objects, starting from Hornedjitef mummy, passing by the standard of Ur and ending with the first Islamic credit card. By using radio mass medium he must use the most accurate descriptions to allow at least listeners to try to imagine what he narrated with the power of the vocal cords. Our image based research tries to reverse the British undertaking sensorial terms. We want to narrate a provincial and explosive Italy - fixed, borrowing from André Breton the most precious sum. The French philosopher used this word to define the ability of some objects to unleash powers of association and interpretation. "
  • Lifelines


    For me drawing and painting mean “communicate” and I need to confront with artists coming from more or less far cultures. Since I was a child I travel and live in different places and I like to live in a new place, I like to feel like a foreigner.
    I believe in the power of the people to change the world and my aim is to do an art that reinforces in people the confidence that our actions can make a difference.
    The voyages influence my work and my conception of inhabitants of the world. I believe in people and in their need to connect each other, through nets. The city is my favorite net. Most of the time I depict what I call "life-lines": the view from the bus I take almost every week going from my parents' house on the mountain to the city of Naples. During this short trips I see the lines people drew building their houses and relationships and lives and they are the same all over the world and they are different from town to town. And this is the mystery I'm trying to solve.
  • Nerano

  • New York

    I inquire into the city because I believe it represents the will of human being, his way of thinking about himself and show himself to the others, it also represents the relations between people and things and relationships. Through my works I'd like to invite who look at them to complete the works by himself, with his/her intuition, his/her feelings about them.
    "We have to make a point about the work of an artist who searches to dialogue with the environment through her painting, intending the space as a place of communication and exchange between individuals.
    Mary Cinque observes the contemporary metropolis, she lives it, being convinced that art can still have a important role to redefine the modern city, in particular she looks at the individual and the community as absolute protagonists of the urban scene.
    Landscapes, usually urban landscapes; architectural, and plastic, elements, aesthetical stimulus captured by the camera or, more often, by a pencil or a felt-tip pen on the sheets of a pad she always carries with her, a journal of travels, escapes, crossings, appearances.
    Mary Cinque collects «snapshots of intimate and familiar experiences», as Adriana de Manes described them during the exhibition at Villa Rufolo in Ravello, visions, memories, emotions, places, things that entwine themselves into a story, as it would happen in a Stefano Benni or Paul Auster novel.
    I am thinking about the 2007 works (Nolita, Avenue, Surf Av(Ny), Hudsonmx), with their freshness, their simplicity with which Mary shows her idea of a city as an aesthetical event, a intercultural reality. It’s a «purely urban phenomenon», as Pierre Restany would say, that intends «the city as an art tank, with its traffic, its humoral secretions – the people behavior – through all the possibilities of meetings and interchanges».
    The city becomes a matter to observe, select, and mould, a matter to animate the extent of the canvas with, a border between reality and fiction, life and art; a place where figure retrieves a critic ability that’s always more latent and globalized.
    These beliefs lead Mary Cinque towards often different solutions: sometimes pop as Pulp and the series in which is also included Make pot not war, where she reformulates, with the painting language, her interests for the photographic images, the digital graphic, the comics and the animation, and the tendency to a simple, but subtle, irony as well; sometimes deeply poetic, I am thinking about the “without title” works on coarse canvas here, atmospheres where the figure almost melts, or the Shoes series, nearly an invite to follow her in the place of imagination, as it happens to Alice in Through the Looking-Glass.
    Anyway, there is always a recognizable need of communication, dialogue, the will of a continuous confrontation with reality, even playing: «The duty of the art», says the artist herself, «is to broaden the mental horizons through empathy, the correspondence between the artist and the audience».
    This is the spirit Mary Cinque works with, the way she defends her conviction to want being a painter who wants to contribute to the salvage of a sense of beauty that, as Pier Luigi Cervellati has written in L’arte del curare, seems always more lost." Pasquale Ruocco
  • Oggetti stanchi

    Just like time that makes go away the sense of things to leave only the simulacrum, the Mary Cinque’s “anti-watercolors” transport the appearance of things on the sheet of paper through a not-painting process. The objects outline is traced with a liquid through colorless maskings. Only when the liquid is dried and transformed in a film, the blue of the pigment is extended in a more or less uniform way to cover all the paper. The removal of the film unveils, finally, the objects presence. Napoli Monitor narrates the city through people stories, its inhabitants stories; so we thought that the city narrates itself also through the memory of some objects found on ordinary routes, if you focus on them. A small archive of forgotten things, stratified and survived to new urban furniture, signals of a past time without function by now, or objects that never carried out their task and which became old before being used. The objects world intervenes in a invisible way in the social processes, but leads our life and can influence our way of living the city. The true identity of the found object gives back to us a piece of the city story (the cinema, the water management, the traffic, the security, the urban green, the great projects, etc) and of its public space.
  • Oleum

    Oleum, after Gods' disputation

    Mary Cinque works on the "landscape" image and upon the allegoric value that the support, baking paper, plays in this case. A landscape's image, framed from different positions, recorded by a "writing" that relates with the background, acquiring the blurs the support brings, inciting atmospheres pervaded by a visionary dictation, following the free registers of her own fantasy.

    Massimo Bignardi
  • Puntini

    It happens very often to me to use the 3 “R” (reduce, reuse, recycle) with my art too, and so I choose to draw on magazines pages. These pages are neither tracing nor light, these are pages with more luxurious advertisings, so with more “white” space for me. On them I draw people I see in the streets, but also things I see around. I design the design, clothes, objects, buildings. I started it to not waste, then I look at these drawings and I realize that the things I portrayed and the story on the magazine (ads, editorial, article) talk to each other. It is a random encounter but the conversation that comes out is always interesting, as most of the things that casually happen. They talk of high and low art, of haute couture and pret-a-porter, of important and less important arts, of how you can put all these labels on every aspect of human life and how these labels are quite useless.
    Just like time that makes go away the sense of things to leave only the simulacrum, the Mary Cinque’s “anti-watercolors” transport the appearance of things on the sheet of paper through a not-painting process. The objects outline is traced with a liquid through colorless maskings. Only when the liquid is dried and transformed in a film, the blue of the pigment is extended in a more or less uniform way to cover all the paper. The removal of the film unveils, finally, the objects presence. Napoli Monitor narrates the city through people stories, its inhabitants stories; so we thought that the city narrates itself also through the memory of some objects found on ordinary routes, if you focus on them. A small archive of forgotten things, stratified and survived to new urban furniture, signals of a past time without function by now, or objects that never carried out their task and which became old before being used. The objects world intervenes in a invisible way in the social processes, but leads our life and can influence our way of living the city. The true identity of the found object gives back to us a piece of the city story (the cinema, the water management, the traffic, the security, the urban green, the great projects, etc) and of its public space.
  • Titled

    I paint and draw what I see. Whatever the medium, recycled paper or canvas, and the technique, acrylic, oil, markers, my reflection moves, surrounds, pierces the environment in which I live: the city. The urban landscape with its "fauna" and its continuous changes coming to my eyes to be registered, without second thoughts, through its artistic figure. The code is the same, changing only the means and the angle: on recycled paper I portray the metropolitan animal, on the canvases I depict geometries of modern architecture. In either case, what fascinates me are the points in common: Whether New York, Paris or Naples that doesn't matter: I capture the deep sense of living the contemporary city. A reflection that was founded in 2006 in Philadelphia, where I started working at the Titled series, at which I am still working. In Titled (acrylic on paper and acrylic on canvas), contemporary architecture is the protagonist: I portray buildings, neighborhoods, streets inspired by sights of New York, Philadelphia, Rome, Naples
  • Acque chiare #38
    Acque chiare #38

    watercolor on paper
    cm 15 x 10

  • 012titled#011
    012titled#011

    2012 acrylicon canvas

    cm 100 x 100

  • 013titled#04F
    013titled#04F

    2013 acrylic on paper

    cm 150 x 150

  • 011titled#08
    011titled#08

    acrylic and pen on canvas
    cm 160 x 150

  • 016titled#06
    016titled#06

    2016 acrylic on canvas cm 20 x 50

  • 012Titled#012
    012Titled#012

    2012 acrylic on paper mounted on board

    cm 43 x 43

  • Oggetto stanco #07
    Oggetto stanco #07

    watercolor on paper
    cm 10 x 15

  • Acque chiare #40
    Acque chiare #40

    watercolor on paper
    cm 15 x 10

  • cropped-016titled012.jpg
    cropped-016titled012.jpg
  • 015titled#06
    015titled#06

    2015 acrylic on canvas

    cm 40 x 40

  • 012titled #04
    012titled #04

    acrylic on paper mounted on canvas
    cm 43 x 43

  • No.l.ita
    No.l.ita

    2008 acrylic and enamel on wood panel
    cm 43 x 91

  • Oleum #36
    Oleum #36

    enamel on baking paper
    cm 29 x 21

  • Vicks
    Vicks

    acrylic and enamel on canvas

    cm 20 X 20

  • 015titled#02 (Spaccanapoli Boogie Woogie)
    015titled#02 (Spaccanapoli Boogie Woogie)

    2015 acrylic on canvas

    cm 40 x 30

     

  • Johnson
    Johnson

    acrylic and enamel on canvas

    cm 20 X 20

  • Oleum #40
    Oleum #40

    enamel on baking paper
    cm 29 x 21

  • Philly
    Philly

    acrylic and enamel on wood panel
    cm 43 x 91

  • Glitterbubble
    Glitterbubble

    acrylic and enamel on canvas

    cm 20 X 20

  • Speaker#02
    Speaker#02

    acrylic and enamel on canvas

    cm 20 X 20

  • My smoothie
    My smoothie

    acrylic and enamel on canvas

    cm 20 x 20

  • Pillow case
    Pillow case

    acrylic and enamel on canvas

    cm 20 x 20

  • 015titled#07
    015titled#07

    2015 acrylic on canvas

    cm 40 x 40

  • 012Titled#07
    012Titled#07

    2012 acrylic on paper mounted board

    cm 43 x 43

  • 015titled#05 (Spaccanapoli Boogie Woogie)
    015titled#05 (Spaccanapoli Boogie Woogie)

    2015 acrylic on canvas

    cm 40 x 30

  • Oleum #38
    Oleum #38

    enamel on baking paper
    cm 29 x 21

  • 016titled0#09
    016titled0#09

    2016 acrylic on canvas

    cm 30 x 30

  • 014titled#010
    014titled#010

    2014 acrylic on canvas

    cm 50 x 150

  • Foille
    Foille

    acrylic and enamel on canvas

    cm 20 X 20

  • Acque chiare 09
    Acque chiare 09

    watercolor on paper
    cm 15 x 10

  • 016titled0#010
    016titled0#010

    2016 acrylic on canvas

    cm 40 x 30

  • 012titled #02
    012titled #02

    acrylic on paper mounted on wood panel

    cm 43 x 43

  • Acque chiare 018
    Acque chiare 018

    watercolor on paper
    cm 10 x 15

  • 09NYCtitled#02
    09NYCtitled#02

    acrylic and enamel on canvas
    cm 20 x 20

  • Knitting 2/2
    Knitting 2/2

    acrylic and enamel on canvas
    cm 40 x 40

  • Speaker #1
    Speaker #1

    acrylic and enamel on canvas

    cm 20 x 20

  • 016titled#012
    016titled#012

    2016 acrylic on canvas

    cm 120 x 100

  • Miso soup
    Miso soup

    acrylic and enamel on canvas

    cm 20 X 20

  • 09NYCtitled#04
    09NYCtitled#04

    acrylic and enamel on canvas
    cm 20 x 20

  • Massage
    Massage

    acrylic and enamel on canvas

    cm 20 X 20

  • 015titled (Spaccanapoli Boogie Woogie)
    015titled (Spaccanapoli Boogie Woogie)

    2015 acrylic on canvas

    cm 40 x 30

  • Oggetto stanco #01
    Oggetto stanco #01

    watercolor on paper
    cm 10 x 15

  • Lifelines #01
    Lifelines #01

    marker on paper
    cm 21 x 15

  • 011titled#06
    011titled#06

    2011 acrylic on paper

    cm 150 x 150

  • Acque chiare #019
    Acque chiare #019

    watercolor on paper
    cm 10 x 15

  • Oggetto stanco #11
    Oggetto stanco #11

    watercolor on paper
    cm 10 x 15

  • Acque chiare #36
    Acque chiare #36

    watercolor on paper
    cm 15 x 10

  • Lifelines #01
    Lifelines #01

    marker on paper
    cm 15 x 21

  • 016titled#01
    016titled#01

    2016 acrylic on canvas

    cm 80 x 80

  • 016titled#015
    016titled#015

    2016 acrylic on canvas

    cm 50 x 150

  • (Italiano) Recommone
    (Italiano) Recommone

    2016 Recommone

    acrylic on rough canvas

    cm 86 x 350

  • Chair
    Chair

    acrylic and enamel on canvas

    cm 20 x 20

  • Acque chiare #033
    Acque chiare #033

    watercolor on paper
    cm 15 x 10

  • Meanwhile Venice
    Meanwhile Venice

    marker on found paper

    cm 29 x 21

  • 014titled#02
    014titled#02

    2014 acrylic on canvas

    cm 30 x 40

  • Oggetto stanco #08
    Oggetto stanco #08

    watercolor on paper
    cm 10 x 15

  • oleum #19
    oleum #19

    enamel on baking paper
    cm 29 x 21

  • Acque chiare #411
    Acque chiare #411

    watercolor on paper
    cm 15 x 10

  • Radio W E
    Radio W E

    acrylic and enamel on canvas

    cm 20 x 20

  • Muses 8-1
    Muses 8-1

    marker on found paper
    cm 21 x 29

  • Oggetto stanco #05
    Oggetto stanco #05

    watercolor on paper
    cm 10 x 15

  • Oleum #39
    Oleum #39

    enamel on baking paper
    cm 29 x 21

  • Surf avenue
    Surf avenue

    2008 acrylic and enamel on wood panel
    cm 43 x 91

  • Lifelines #03
    Lifelines #03

    marker on paper
    cm 15 x 21

  • Oleum #34
    Oleum #34

    enamel on baking paper
    cm 29 x 21

  • Lifelines#02
    Lifelines#02

    marker on paper
    cm 21 x 15

  • Oggetto stanco #02
    Oggetto stanco #02

    watercolor on paper
    cm 10 x 15

  • Montesanto #10
    Montesanto #10

    marker on paper
    cm 21 x 29

  • 012Titled#014
    012Titled#014

    2012 acrylic on paper mounted on board

    cm 43 x 43

  • Oleum #23
    Oleum #23

    enamel on baking paper
    cm 29 x 21

  • Oggetto stanco #04
    Oggetto stanco #04

    watercolor on paper
    cm 10 x 15

  • Oggetto stanco #09
    Oggetto stanco #09

    watercolor on paper
    cm 10 x 15

  • 016titled#07
    016titled#07

    2016 acrylic on canvas

    cm 76 x 76

  • Lifelines #18
    Lifelines #18

    marker on paper
    cm21 x 15

  • Acque chiare #39
    Acque chiare #39

    watercolor on paper
    cm 15 x 10

  • Lifelines #09
    Lifelines #09

    marker on paper
    cm 15 x 21

  • Oggetto stanco #10
    Oggetto stanco #10

    watercolor on paper
    cm 10 x 15

    private collection

  • Plate #02
    Plate #02

    acrylic and enamel on canvas

    cm 20 x 20

  • Little Italy
    Little Italy

    acrylic and enamel on canvas
    cm 80 x 40

  • Muses 5w5
    Muses 5w5

    marker on found paper
    cm 21 x 29

  • 09NYCtitled#03
    09NYCtitled#03

    acrylic and enamel on canvas
    cm 20 x 20

  • Oleum #35
    Oleum #35

    enamel on canvas
    cm 29 x 21

  • Softner
    Softner

    acrylic and enamel on canvas

    cm 20 X 20

  • Montesanto #9
    Montesanto #9

    marker on paper
    cm 29 x 21

  • 016titled0#08
    016titled0#08

    2016 acrylic on canvas

    cm 30 x 30

  • 014titled#01
    014titled#01

    2014 acrylic on canvas

    cm 30 x 40

  • 09NYCtitled#01
    09NYCtitled#01

    acrylic and enamel on canvas
    cm 20 x 20

  • Bath oil
    Bath oil

    acrylic and enamel on canvas

    cm 20 x 20

  • Plate #1
    Plate #1

    acrylic and enamel on canvas

    cm 20 x 20

  • 016titled#02 (Addis Abeba)
    016titled#02 (Addis Abeba)

    2016 acrylic on rough canvas

    cm 300 x 200

  • Gelb
    Gelb

    acrylic and enamel on canvas

    cm 20 x 20

  • Earphones
    Earphones

    acrylic and enamel on canvas

    cm 20 X 20

  • Acque chiare #034
    Acque chiare #034

    watercolor on paper
    cm 15 x 10

  • In line for MoMA
    In line for MoMA

    2008 acrylic and enamel on wood panel
    cm 43 x 91

  • Lifelines #03
    Lifelines #03

    marker on paper
    cm 21 x 15

  • Oleum #37
    Oleum #37

    enamel on baking paper
    cm 29 x 21

  • Avenue
    Avenue

    acrylic and enamel on wood panel
    cm 91 x 43

  • 015titled#08
    015titled#08

    2015 acrylic on canvas

    cm 40 x 40

  • Oleum #01
    Oleum #01

    enamel on baking paper
    cm 29 x 21

  • Trattorino
    Trattorino

    acrylic and enamel on canvas

    cm 20 x 20

  • Acque chiare #35
    Acque chiare #35

    watercolor on paper
    cm 15 x 10

  • Lifelines #04
    Lifelines #04

    marker on paper
    cm 15 x 21

  • Meanwhile Venice (cafè)
    Meanwhile Venice (cafè)

    marker on found paper
    cm 21 x 29

  • Oleum #17
    Oleum #17

    enamel on baking paper
    cm 29 x 21

  • 013titled#02
    013titled#02

    2013 acrylic on canvas

    cm 80 x 80

  • Acque chiare #37
    Acque chiare #37

    watercolor on paper
    cm 15 x 10

  • muses 8
    muses 8

    marker on paper
    cm 21 x 29

  • Pillow #03
    Pillow #03

    acrylic and enamel on canvas

    cm 20 x 20

  • Little Italy
    Little Italy

    2008 acrylic and enamel on canvas

    cm 80 x 40

  • Oleum #33
    Oleum #33

    enamel on baking paper
    cm 29 x 21

  • 013titled#02F
    013titled#02F

    2013 acrylic on paper

    cm 150 x 150

  • 016titled#04
    016titled#04

    2016 acrylic on canvas

    cm 70 x 100

    FRAC museum collection

  • Oggetto stanco #03
    Oggetto stanco #03

    watercolor on paper
    cm 10 x 15

  • 016titled#013
    016titled#013

    2016 acrylic on canvas

    cm 60 x 30

  • Muses 5w012
    Muses 5w012

    marker on found paper
    cm 21 x 29

  • Showergel
    Showergel

    acrylic and enamel on canvas

    cm 20 X 20

  • Lifelines #30
    Lifelines #30

    marker on paper
    cm 21 x 15

  • To Brooklyn rmx
    To Brooklyn rmx

    2008 acrylic and enamel on canvas
    cm 80 x 80

  • oggetto stanco #06
    oggetto stanco #06

    watercolor on paper
    cm 15 x 10