Paolo Mariani Art Design

Liquid Canvas Painting®: The official presentation

staff — Mon, 19 Oct 2026 05:54:03 +0000

Art Shopping Paris, October 2026, Carrousel du Louvre.
Could I possibly resist the temptation to present the first work from the Liquid Canvas Painting^® project right here?
Not far away, the water basins surrounding the Louvre Pyramid create a continuous dialogue between geometry, architecture, and reflections.
When I. M. Pei conceived the pyramid, he chose a transparent structure and a minimalist geometry, capable of establishing a new relationship with the historic building without obscuring it. Water amplifies this dialogue, reflecting the forms and transforming our perception of them.

I find a subtle connection between this game and my work: in both cases, water is not merely what contains the forms, but a presence that helps define them, alter their relationships, and, in some way, create new ones. The forms interact with the water, but it is also the water—with its surface, movement, and reflections—that interacts with the forms.

Presenting “4^a Performance” right where architecture and water come together in such a meaningful way makes this first moment of sharing particularly special to me.

At FIXTALENT ART
STAND D69

Nighttime photo of the Louvre: Photo by Michael Fousert , Unsplash

“From Above to Earth,” a solo exhibition and dinner events at Corte Massimago

staff — Sat, 10 Oct 2026 12:07:40 +0000

For about a month, from late October to late November, Corte Massimago will host a selection of my works in its enchanting spaces.
On display will be some of the works I’ve had the opportunity to present over the years from Paris to Munich—works that are part of the artistic exploration that Vittorio Sgarbi has described as being in “poetic harmony” with Futurist Aeropainting.
In fact, I’ve been invited to personally present my works during four dinner events, at which Chef Ervin of “MassimagoInCucina”—drawing inspiration from my works—will serve menus designed to complement this experience. It’s a meeting of art and cuisine, then, but above all, an opportunity to get together, talk about art, and share my work. It’s truly hard to imagine a more enjoyable way to meet you all…

Alongside the works that have defined these years, I will also be bringing a preview of the new direction my artistic exploration is taking to Corte Massimago.
Almost simultaneously with the official presentation at the Carrousel du Louvre, I will in fact be presenting two new works from my Liquid Canvas Painting^® project.
I like to think of this exhibition as a small bridge between the past and the future: on one side, works that chronicle a journey already taken; on the other, two pieces that point toward a new direction.
I look forward to seeing you at Corte Massimago.

For more details about the events:
Corte Massimago
INSTAGRAM
FACEBOOK
Via Giare, 10 – Mezzane di Sotto (Verona)
winerelais@massimago.com
+39 342 6604566

Liquid Canvas Painting®: the project

staff — Wed, 07 Oct 2026 12:40:08 +0000

The project is structured into an initial conceptual tripartition titled “Performance”, “Sightings”, and “Seaplanes”.

The “Performance” section investigates bidimensionality through polychromatic planar elements suspended in water.
The work unfolds across 89 serial variants, documented through a study of light that traces the sun’s entire arc: from the raking light of dawn, through the zenithal midday, to the subtle hues of twilight.

“Sightings” shifts the focus toward volume and refraction, presenting floating circular geometries.
Crafted through the material interplay of plexiglass and polychromatic polymers, the 108 outcomes of this research are captured by privileging liminal atmospheric conditions. Overcast skies and stark luminous contrasts act as aesthetic devices in their own right, heightening the visual tension of the work.

Finally, “Seaplanes” focuses the investigation on the image embedded within the liquid element.
The captures are conceived to isolate bodies of water with anomalous pigmentation and unique morphological traits, generating a corpus of 94 variants that explore the perceptual alterations of the aquatic landscape in contrast to the mechanical silhouette of the “flying machines.”

The first work in the “Performance” section will be presented in Paris at the Carrousel du Louvre during Art Shopping 2026, from October 23 to 25.
STAND C 69-70-111, FIXTALENT ART
For anyone in Verona who appreciates not only contemporary art but also culinary art, I will be a guest at Corte Massimago for four evenings taking place between late October and late November.
More info in the news article “From above to Earth.”

Liquid Canvas Painting®: the beginning

staff — Sat, 03 Oct 2026 08:32:36 +0000

On the occasion of the Centenary of the Futurist Aeropainting Manifesto, I had the honor of inviting Giorgio Fasol to Rome for an institutional meeting at the Press Room of the Chamber of Deputies, where I presented to the public some of my works strongly inspired by that glorious and revolutionary avant-garde.
Fasol, unanimously recognized as one of the foremost experts and extraordinary collectors of Contemporary Art, enthusiastically accepted the invitation. However, a sudden and prolonged suspension of railway traffic made me fear his inevitable withdrawal.

That logistical obstacle, on the contrary, turned into an opportunity for invaluable human and professional enrichment. The long hours spent in the car together, sharing the journey to the Capital, proved to be a true masterclass on his vision of Contemporary Art, opening the doors to a fascinating, complex, and often inscrutable universe. It was an intense and passionate dialogue, a stimulating exchange that allowed me to deeply understand the complex dynamics governing the market, criticism, and the appreciation of art today.
Fortified by his cordiality and profound intellectual generosity, I confided in him a project I had been cherishing since the 1980s.

A visionary idea long postponed due to the technical limitations of the time, today finally surmountable thanks to the advent of vertical drone photography, a tool that has enabled me to explore new spatial perspectives.
He listened with the utmost attention and the analytical rigor that has always distinguished him.
At the end of my account, his words were peremptory: “What are you waiting for? Show me something as soon as possible!”
That encouragement shattered every hesitation, sweeping away any residual doubt.

It was the beginning of an unstoppable journey, a succession of intuitions, confirmations, and approvals that quickly led me to the registration of the Liquid Canvas Painting trademark, first in Europe and subsequently in the United States, definitively consecrating its birth, its value, and its international spread.
Today, Liquid Canvas Painting is not just a technique, but a visual language that merges the Futurist tradition with technological innovation, offering the viewer an absolutely unprecedented aesthetic, emotional, and sensory experience.

Fiberglass, Art, and Pop-Rock Colors

staff — Tue, 22 Sep 2026 13:48:09 +0000

When looking at an artist’s journey, it often happens that the past conceals signs of the future. Lately, my work has focused almost exclusively on the surface of the canvas, exploring space through the modulation of colors and transparencies.
And yet, there is a “sculptural” dimension that has always been part of my creative DNA and that today is once again making its presence felt.
In the early 1970s, as I was finishing my art studies, I created two fiberglass works that I still look back on with nostalgia: “The Forest” and “The Crystal Mountain.”

These prototypes were created at the height of the pop-rock era, and fiberglass in particular—which I had learned to work with while building canoes for competitions—allowed me to create modern objects that could evoke new, luminous, and fantastical worlds.
Today, in those lamps, I no longer see merely a memory or an interesting expressive experiment. Rather, I recognize in them the traces of a new dialogue with the “water” dimension, which for me is always present, fascinating, and indispensable.
This profound connection between light, water, and space marks the beginning of a new phase in my artistic journey. It is a return to dimensionality that, building on those early intuitions—which I have since deeply experienced and come to understand—is poised to explore promising and entirely new artistic horizons.

Article by Luca Mantovani

staff — Sun, 02 Aug 2026 10:48:54 +0000

Luca Mantovani is a journalist and publisher active in the Verona area.
He moderates institutional and cultural events, including those organised by Fondazione Cariverona, and is currently editor-in-chief of «L’Arena», the most widely read daily newspaper in Verona and its province.

Paolo Mariani and Aeropittura – “The Landscape Seen from Above”

The Veronese artist presented his work at Camera dei Deputati (the Chamber of Deputies) at an event promoted by MP Rosaria Tassinari
The visual language codified in the manifesto published in 1929 and signed by artists such as Marinetti, Balla, Dottori and Prampolini translated into painting the enthusiasm for flight, speed and the machine. It was not merely a matter of seeing from above, but also of breaking the landscape down into chromatic planes and capturing the dynamism of modernity.

A century later, Paolo Mariani’s graphic works on canvas take up that legacy and bring it into the present. A native of Verona, and an aviator by passion as well as personal history, Mariani was for many years a master of the restoration of monumental heritage — from the Teatro Olimpico in Vicenza to the Uffizi, from the Quirinal Palace to the towers of San Gimignano and Juliet’s balcony in Verona — while developing a marked experimental vocation in his use of materials.
For more than forty years, he has recorded impressions and ideas in his work diaries and travel notebooks, which since 2018 he has been translating into compositions. It is a language in which Vittorio Sgarbi has recognised “a new kind of aeropainter, not an imitation of the Futurists, but their most radical intuition — moving away from things, through distance or detachment, so as to bring them into sharper focus — brought into the present.”

In recent days, Paolo Mariani’s work was presented in Rome, at Palazzo Montecitorio, as part of the celebrations marking the centenary of Aeropittura futurista (Futurist Aeropainting), during an event promoted by Rosaria Tassinari, a Forza Italia MP and member of the Chamber of Deputies’ Culture Committee.
It was a significant institutional setting, intended not only to reflect on the historical memory of an extraordinary chapter in Italian art, but also on the possibility that some of its fundamental intuitions might continue to live on in contemporary artistic research.
“The centenary of Futurist Aeropittura and Paolo Mariani’s works represent an important opportunity to highlight a fundamental chapter in the history of Italian art. Celebrating this anniversary means paying tribute to a movement that courageously and innovatively interpreted the relationship between art, technology and modernity. His works help keep this cultural heritage alive, offering the public valuable testimony to the creativity and artistic research of our country. It is the duty of institutions to support initiatives that promote culture, historical memory and Italian talent,” said Rosaria Tassinari.
Giorgio Fasol, a critic and collector of contemporary art, introduced Mariani’s figure and work, reconstructing the career of an artist whose biography defies any conventional classification.

Born in Verona in 1952, Mariani worked with crystal and fibreglass in the 1980s before becoming one of the leading figures in monumental restoration in Italy and Spain. His formative years were strongly influenced by his collaborations with architects Libero Cecchini and Tobia Scarpa.
“For years,” Fasol recounts, “he had experienced the frustration of not having time to paint — until he realised that it was enough to postpone the act of creation, not the idea itself. A sketch, a note, a word. And the image would remain safe, waiting for him.
This convergence between life and painting has a precise biographical root. Years of flying seaplanes accustomed the artist to reading the landscape as the Futurists had imagined it: a system of forces in motion, rather than a static view.
Seen from above, the earth dissolves into overlapping planes; geometries emerge where the eye on the ground cannot perceive them; light takes on a different meaning when the weight of the ground is removed.
This is not a cultural influence — it is a lived visual education at altitude, one that preceded any conscious study of Futurism and, by a different route, reproduced some of its essential tensions.
It is therefore hardly surprising that his passion for flying seaplanes ultimately came to define the very point of view of his painting: a gaze from above, suspended, embracing sky, land and water all at once.

Stefano Filippi: Remarks

staff — Mon, 20 Jul 2026 06:31:14 +0000

Stefano Filippi is a professional journalist and Editor-in-Chief of the monthly magazine “Tracce”, after serving as Deputy Editor and Special Correspondent for “L’Arena”, “Il Giornale”, and “La Verità”. He is the author of “Justice and the Human Person: When Prison Changes Lives” (“Giustizia e persona. Quando il carcere cambia la vita”, Bietti) and “The True Story of Pope Francis” (“La vera storia di papa Francesco”, Barbera). He is also President of the Verona chapter of the UCSI (Italian Catholic Press Union).

Camera dei Deputati, Rome – 7 july 2026

Just a few brief observations—quite personal ones, if you’ll allow me—because I came to know Paolo Mariani through a mutual friend whom I greatly admire.
I still remember the impression I had when I first saw his paintings. It was an extraordinarily powerful impression because they somehow required me to identify not only with the painting itself.
When we visit a museum, we usually move from one painting to the next. We look at a clearly defined subject, placed within a specific context. We have, so to speak, a fairly traditional way of looking at works of art.
With Mariani, you have to set that habit aside. You have to step into the painting and, in a way, step into the person behind it as well.
What fascinated me immediately was trying to understand what kind of man he was. And it soon became clear: a man full of life, full of enthusiasm, eager to act, someone who embraces reality instead of simply letting it pass him by.
Later I discovered that we also shared some common passions.
He painted places, corners of the landscape—places that were dear to him—which were not only places I knew, but places to which I, too, felt deeply attached. I’m not talking only about Lake Garda, but also the Maremma and certain corners of the Venetian Lagoon.
These are places that many people enjoy during the summer, but I have the feeling that he visits them mainly out of season. Because that’s when nature, the landscape, the environment reveal themselves at their most vivid—almost untamed.

I remember, in particular, two paintings that I truly loved.
One is “Lazise, tramonto con telefonata” (Lazise, Sunset with a Phone Call). It is a wonderful composition of colours… and then there is that little corner, that tiny detail, which becomes a human presence within the scene.
What I find beautiful is that Mariani is not sitting in judgment, saying, “This shouldn’t be here.” I imagine that, at the time, the mobile phone may have reminded him of someone being a nuisance, or of someone speaking too loudly—an experience we’ve all had. Yet there is no condemnation in the painting, no moral judgement. There is almost a sense of participation, even understanding.
It is obvious that the past matters deeply to him. If it didn’t, he wouldn’t make such use of his diary, he wouldn’t preserve his dearest and most intense memories or feel this desire to communicate them through his work. But he is not simply someone attached to the past. He is profoundly immersed in the present, and above all he is someone who looks to the future. That mobile phone—placed there quietly, tucked away in the corner, never despised—is part of our lives.
I found it a fascinating way of bringing together landscape and modernity.

Lazise, tramonto con telefonata – Agenda 2002 (Acrilyc and paper on canvas cm 100×120)

The other painting that particularly struck me is “La spiaggia di Boccasette” (The Beach at Boccasette).
My wife and I enjoy going, from time to time, to this beach in the Veneto region. You may never have heard of it. It lies in the Po Delta and is, for all practical purposes, an unknown place. The people who go there are mostly from the Province of Rovigo, or those who know the area well and appreciate this particular stretch of coastline.
That painting conveys all the force of nature, because Boccasette is a beach where, for three months of the year, there are just two bathing establishments, built in June and dismantled again in September. After that, the storms and the sea take over.
The painting captures that raw power of the natural world.
Those tree trunks, the sand with its countless colours and subtle shades of yellow, the colour of the sea… and then, within that setting, there are these small touches of red. Red is the colour of passion. It is the colour of fire. It is the colour of desire. So what is that red doing there?
My own feeling is that, in a place where untamed nature reigns supreme, it suggests a hidden passion, a living, vibrant presence.
Even the traces of human activity are, in the end, nothing more than wooden piles driven into the sand—large timber posts extending towards the sea, almost like small jetties, built simply to protect the beach. They are virtually the only human intervention in that landscape. Everything else is beach, wild shrubs and sand dunes.
The nearest houses are about six kilometres away—a seven-minute drive—so it really is a place that seems forgotten by everyone. If you’re looking for a bit of peace and quiet, I’d recommend it. It’s not even all that easy to get to, to be honest.
It seems to me that this way of portraying nature in such an essential form also echoes the centenary of Futurism and, more specifically, of Aeropittura (Aeropainting).
Aeropittura, with its particular way of seeing the world; Mariani, with his passion for flight—that desire to look at things from abov
From above, you can see everything. And yet, what do you actually perceive?
Not the detail. You perceive the essence of things.
You see the colours of the plains, the colours of the cultivated fields, the colours of the houses. You see the course of the water. In a way, you become immersed in thousands of years of geological evolution.
Looking at the world from above gives you a sense of essentiality, of purity.
And I believe that purity is precisely the hallmark of Mariani’s work. Its simplicity. Its desire to go to the very root of things.
Because every great passion ultimately contains one final desire: the desire to discover reality itself.
The deepest desire is to understand what it is that makes things what they are, what brings us into the world, and what gives birth to all the desires we carry within us.
So, in a few words, that’s what Mariani’s paintings have stirred in me, and for that I am deeply grateful to him.
I have to admit that I like him very much as a person, so I also feel a little awkward speaking about him.
But I am genuinely happy to have met him, and I sincerely wish him a future filled with satisfaction and success.

Presentation of Paolo Mariani’s Works at the Chamber of Deputies

staff — Wed, 15 Jul 2026 13:17:52 +0000

On July 7, I had the great pleasure of seeing my work presented at the Press Room of the Chamber of Deputies. A few days have passed, but the excitement is still fresh, and perhaps words alone are not enough to fully convey it.
What makes this occasion particularly meaningful—at least for me—is the context in which it took place. The initiative, in fact, was part of the celebrations marking the centennial of Aeropittura futurista (Futurist Aeropainting), but it did not merely commemorate an extraordinary period in Italian art; it also sought to explore what its legacy might be today and how some of its principles might continue to live on in contemporary artistic practice.

I would therefore like to express my sincere gratitude to the Honorable Rosaria Tassinari, a member of the Culture Committee of the Chamber of Deputies, who organized this event. Through a personal and committed decision, she sought to identify, within the contemporary art scene, a path capable of engaging with that tradition, recognizing in my work certain elements of continuity with the Aeropittura movement.
I am pleased to quote his words: “The centennial anniversary of Aeropittura futurista and the works of Paolo Mariani represent an important opportunity to highlight a fundamental chapter in the history of Italian art. Celebrating this anniversary means paying tribute to a movement that was able to interpret the relationship between art, technology, and modernity with courage and innovation. Paolo Mariani’s works help keep this cultural heritage alive, offering the public a valuable testament to our country’s creativity and artistic exploration. It is the duty of institutions to support initiatives that promote Italian culture, historical memory, and talent.”

I would also like to thank Giorgio Fasol, a critic and collector of contemporary art, and Stefano Filippi, an art critic, for their insightful remarks. Their reflections have helped place my work within a broader historical and critical context, offering those present further perspectives on what I continue to refer to—with a smile—as my innate… “Futurist Attraction.”

Certain insights from Aeropittura futurista —dynamism, the perception of space, and the relationship between technology, movement, and vision—still have much to offer contemporary art. Being selected, as part of the centennial celebrations, as a contemporary artist called upon to represent this legacy—which is still very much alive—is an honor that deeply moves me, and one that I consider one of the most significant moments of my career.

A short interview is available on Youtube

From left to right, the participants in the meeting: Stefano Filippi, Rep. Maturi (moderator), Rep. Tassinari, Paolo Mariani, and Giorgio Fasol.

A brief review of Paolo Limoli

staff — Mon, 08 Jun 2026 09:48:27 +0000

When I visit exhibitions and meet artists, I often come across interesting and well-crafted works. More rarely, however, do I encounter pieces that surprise me with their originality and the almost obsessive attention to detail with which they are conceived and executed.
This was my impression upon viewing the work of Paolo Limoli, the featured artist in the exhibition “Stratus – A Journey into the Soul of Matter,” hosted at the Mancini Law Firm as part of the Inclusive project.
The material in question is paper, which Limoli uses with great skill and elegance in both 2D and 3D works… and perhaps our shared fondness for this material makes me appreciate it with greater awareness.

Looking at the works, one senses a patient and rigorous artistic process that does not seek to create a spectacular effect, but rather captivates through the harmony of its forms and the elegance of its composition. It is a personal and distinctive style that invites the viewer to linger over the details and, little by little, discover the complexity hidden behind an apparent simplicity.

“Stratus” is an exhibition that deserves attention not only for the artist’s technical skill, but also for his ability to give paper a surprisingly contemporary dimension.

The exhibition will remain open to the public until September 20 during the studio’s regular hours.

“The Elegance of Art”, Villa Breda Museum

staff — Thu, 23 Apr 2026 10:29:45 +0000

From May 8 to 10, the Villa Breda Museum in Ponte di Brenta (Padua) will serve as the charming setting for the cultural event “The Elegance of Art.”
As usual, Artemente Gallery is presenting a multifaceted event, in which an exhibition of works by contemporary artists will be complemented by book presentations and other cultural events.

The following individuals have accepted the invitation to participate: Prof. Andrea Barretta, journalist, writer, and art critic—who will also be opening the exhibition on Saturday, May 9, at 3:30 p.m.—; journalist, singer-songwriter, and writer Leandro Barsotti; and Prof. Francesco Caracciolo, whom I have already had the pleasure of meeting in person and who will be presenting his recently published book.

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