“I feel a kind of ethical obligation to make my portraits that often represent the recognition of man’s talent and genius.”
The Brazilian artist Marcos Marin seems to belong to that category of artists engaged in the difficult task of combining opposites.
His Marilyn, Audrey, Grace are all played on the edge of ambiguity: closely observed are perfectly abstract geometric grids, but if you move away they reveal the presence of faces rendered with photographic precision.
The ambition to bring apparently intangible worlds and visions to convergence seems to be the real engine of his research.
Marcos Marin, a modern epigone of the Op Art of the 60s, returns to put man at the center of the work of art.
