The Magic Lake Oil on Arches Oil Paper 30” x 22”
Portrait Acrylic on Canvas 20” x 20”
Juror Mark Tindle’s Comments: Laura Marconi
“Hope in Every Steps: the Immigrant Experience” 2021 Portland, Oregon
“Laura’s powerful metaphor of the icebergs is such a strong and clear explanation of the deep feelings that exist in her. They suggest both what it was that motivated her to travel the world and immigrate into the US and the deep wellspring of memory that exists beneath the surface, as she thinks of the places that she calls home. The contrast of the calm exterior and knowledge of the deep depths that exist unseen are emphatic and deeply relatable.”
Click on the image for the review of the all show
My water color “Nuvole” is on the cover of this book by Loredana Marconi that has been published in Italian in August 2020.
It is the sequel of “Il Soffio”.
My painting: “Open Sky” is on the cover of this book by Loredana Marconi that has been published in Italian in April 2020.
Soon it will be available in English as well.
This is an article by Björn Valdirnarsson, a photographer living in Northern Iceland. From his series: FÓLKIÐ Í FJALLABYGGÐ https://www.flickr.com/photos/siglufjordur/48291469181/ https://bjornvald.is/
When Simple Is Anything But Basic By Carol Taylor-Kearney Apr 19, 2019 - “Architectural Visions”
I start in the gallery of Laura Marconi. The paintings in this gallery can be divided into two bodies of work based on two separate residencies— one in Barcelona, Spain and the other inIceland. Marconi unites these experiences through her choice of subject and her handling of composition. What I would call “architecture” and “architectonic”. So, for Barcelona she sets her sights on windows and particularly the reflection on the window’s glass. For Iceland she pinpoints the ridged and rugged structure of the landscape. In both cases she gives us just enough information to have us perceive in a specific way. In the case of the windows, all the pieces are the same size—10 inches by 8 inches. But the presentation of the window itself can change. Most, like Window Reflections #2, Barcelona, have both the window and the frame around the window. Some, like Windows Reflection #8 and Windows Reflection #6 show only the interior structure of the window. Another difference in the compositional organization of the Barcelona pieces relates to time and movement. For example, two arched windows, Windows Reflection #2 and Windows Reflection #5 show varied vantage points of looking—one angled and slightly off-center, the other straight-on. This leads to a sense of two contrasting experiences. One of movement and passing, the other of stability and stillness, perhaps even meditation. And because all the Windows Reflection pieces are framed the same and laid out in a grid-like structure, I find myself relating each and every one to another. The device of sharing the surround and casement to the window also works well with the color. The colors of the reflections are generally bold while the windows’ structure is black or muted. Having the window’s shapes break up the pattern of the reflection integrates the two and keeps them on the same (flat) plane. As I look, I find myself concentrating less on the window concept and more on the interaction of the geometry. Similarly, in the Iceland paintings Marconi relies on delineated, shaped areas that build. These areas, by size and configuration, produce a solidness of land featuring flat spaces that roll into hills and formations. In Black Hills, Iceland a gray trapezoid describes the ground plane. It sits in a greenish area with a cut-in of red. Undulating stripes of gray, gold, and finally black fill the bottom of the panel while the top is a blue with speckled white that reminds me of lingering twilight. I feel like I am entering an expanse of land, first rising, then falling, only to continue rising and falling in waves. The most architectonic paintings out of the works on Iceland, though, are the ones featuring icebergs. Four of the 8 iceberg paintings seem to be the same iceberg so to view them as a series is to experience a time-lapse-- I am floating out to sea along with them. Marconi moves us closer then further, from side to side, and even the iceberg seems to turn as in Metamorphosis. Most of her descriptive powers are featured in the iceberg rather than its setting as she lends it cragginess and a shimmering white or icy blue color. Titling one The Iceberg Church (on the post card, above), it relates it even closer to a building than just a formation. But I think Disappearing Iceberg could also be called “Reclining Iceberg” not only because of its shape but because of her treatment of these as living beings to contemplate.
In 2019 the journalist Monica Refe published: “ Il Sogno Americano Esiste Ancora?”. A collections of interviews, confessions and testimonies of Italian emigrants, among which mine is also found. The original interview was published on: “La Voce di New York”, a US base bi-lingual online newspaper.
The Holidays at Cerulean Art Collectives By Carol Taylor-Kearney January 3, 2018
In a continuance of reporting the exhibitions at the Cerulean Gallery, I am covering the two exhibitions of the Collective. Why? Where else can one find high-quality original art of five artists in a solo exhibition each and a group exhibition of some sixty artists. Moreover, next door Cerulean Gallery has a historic, curated group exhibition, “A Starling in the Shadow”. But more on that later… “Laura Marconi is a shape-master in a totally different light. She claims that she uses the landscapes of Iceland as inspiration, and there is a feeling of sky, mountains, lakes. Yet these are also paintings built from a limited palette (blacks, whites, grays or blacks, whites, blues) with striated areas fitting together like a puzzle. Marconi is very careful with the size and placement of these variegated shapes and she shows much versatility in her arrangements. For some works, she uses a circular composition making me think that I am peering through a porthole or a telescope, glimpsing the perfect reflections of land on water. In an even more interesting turn, Marconi will flip the composition 90°, transforming a landscape into symmetrical shapes around a center axis.”.
AUGUST 15, 2015 THRU AUGUST 28, 2015 TWO EXHIBITS,ONE NIGHT: LAURA MARCONI: My Iceland and MARGARET MERRITT: Abstract Impressions OPENING RECEPTION: Saturday, August 15th from 5 to 7p.m.
LAURA MARCONI has spent the past two summers at artist residencies in Iceland. Her new work, "My Iceland" speaks to the savage beauty of the place that mesmerized and enthralled her. Inspired by mountains still covered with spots snow, Marconi creates strong black and white graphic patterns on canvas. Dramatic and bold the work is breathtaking. MARGARET MERRITT exhibits her abstract prints perhaps for the first time all seen together in one place in "Abstract Impressions". Intricate designs inspired by a broken window, or perhaps natural fibers are the subject for this work which Merritt has regrouped and reorganized. What happens in her prints is remarkable. An extraordinary print maker from Sandwich, NH Merritt's work is fascinating.
AUGUST 17, 2014, TJARNARBORG, OLAFSFJÓRÐUR, ICELAND. Improvisation Dance Performance by Rebecca Wong Dance Group (Kingsan Lo) Collaboration with Laura Marconi (Italy/USA) music by Kate Carr (Australia).
https://www.youtube.com/watch?v=EHZ8gfyT8PM
LAURA MARCONI - AUGUST 2014
MY COOPERATION WITH GI CHU AT LISTHÚS, ÓLAFSFJÖRÐUR During my artist residency in Northern Iceland in the month of August 2014, I had the pleasure to collaborate with REBECCA WONG DANCE GROUP, GI CHU, SEI CHUN HING, and CHRISTINE LAU. One of the dancer, KINSAN LO, improvised on a video showing my work projected on a big wall in different venues. My inspiration for these group of paintings came from the mountains surrounding the fjord. A majestic range still cover with spots of snow forming different shapes. A strong graphic pattern that seemed black and white at a certain time of day. It reminded me of woodcuts prints, very bold looking. They are series of seven pictures connected to each other by the continuos lines of the mountains, with a white edge all around each piece to suggest several frames of a movie. It also reminded me of the passing of seasons, of time. Something that disappears to give space for renewals. It is a personal thought these days having a sister with a terminal illness, so I guess this was on my mind at a subconscious level while I worked. To make this collaboration possible KINSAN LO, GI CHU as the videographer, SEI CHUN HING as the sound and light engineer, and myself, had to be on the same page. We discussed how to project the paintings, at first GI was manipulating the pictures but I felt that they didn't look like my own, so we opted for a simpler moving image of the seven paintings connected to each other. At the end of this sequence GI took some photographs of the same mountains from which I was inspired, and projected in a flash mode with some other blocks of colors, to give a more dynamic spin to this video. The audio was by SEI who chose natural sounds for the background. When KINSAN danced everything came together beautifully, an emotional experience for me to see this project at the final stage. A wonderful gift to have had this opportunity to collaborate with these talented group of artists. It has been showed at different venues in Iceland: In ÓLAFSFJÖRÐUR at the CULTURAL CENTER, TJARNARBORG In SIGLUFJÖRÐUR at the gallery, ALÞÝOUHÚSI In AKUREYRI at the Ketilhúsið, AKUREYRI ART MUSEUM.
POSTED BY: PATRICIA JULY 09, 2010 Family Ties - The Art Connection
FAMILY TIES – THE ART CONNECTION explores the differences and similarities found in the work of artists who live together or have lived together. Partners, couples, Mothers and daughters, nephews and Aunts exhibit together in this delightful show. Join us on Sandwich. Wednesday, July 21st from 5-7 p.m. to meet the Family! Patricia Ladd Carega Gallery is located at 69 Maple Street (route 113) in Center Sandwich. Participating artists include Michael Doyle and Laura Marconi have summered in Tamworth for years. Stronger than ever, Doyle’s loose impressionistic style lends itself to the lakes and mountains in our area. Marconi’s jewel like palate reminds of 19th century Italian art. Not surprising as she is from Rome.
“Laura Marconi is a very talented artist who first exhibited at my gallery last summer. Her landscapes are subtle, mysterious and luminous. Born in Italy, Marconi has lived and worked in this country for the past several years. Her work was well received and much admired at my gallery. I look forward to showing more paintings this year. Patricia Carega” February 23, 2009 Patricia Carega, Owner/Director/Consultant Patricia Ladd Carega Gallery was a consultant or contractor to Laura at Patricia Ladd Carega Art Gallery
Landscape artists featured at Patricia Ladd Carega Gallery Thursday, July 24th, 2008
On July 30, Patricia Ladd Carega Gallery will open a refreshing new exhibit entitled "Landscape, New Approaches." A reception to meet the artists will be from 5-7 p.m. Artists have been inspired by views and vistas both big and small for hundreds of years. Who is not awed by the beauty around us and who is not challenged by the effort to translate that scenery to paper or canvas? This exhibit explores the different approaches to an old theme, the landscape. It is an exhibit filled with creativity, originality, whimsy and color.There are approximately 23 landscape artists in the exhibit. Laura Marconi's work is abstract. Her translucent paintings have a jewel like quality about them. Perhaps it is the choice of color or perhaps it is because the work is small, Her approach is poetic and soft.
ANOTHER BRICK IN THE WALL By Marie Fowler, Special to Arcade May 24, 2001 "Stick with Me and I'll Make You Famous," by Jenny Argie.
"Marconi, born and raised in Rome, initially studied tourism and languages in her native land. She reverses the traditional trend by taking her art training in the United States. A newly minted American citizen, Marconi strives to "see the ordinary in an extraordinary way." Her present work, in mixed media and oil on treated paper, is largely based on experiences at Cape May toward the end of last summer. She remembers walking along the beach after a rain, finding the "ocean had spilled over into the sand." She describes the sunset as surreal and it was these images that she carried back to the studio, seeking to capture the color and sense of place. Her spare, undulating landscapes verge on abstraction. Sky and water take turns filling two-thirds of the composition space, creating a sense of isolation, peace and tranquillity."