Marta Mancini on Painting, Techno, and the Pendulum Between Abstraction and Figuration

Marta Mancini (b. 1981) lives and works in Rome. Her solo exhibition "La molla," curated by Pericle Guaglianone, runs until November 24 at Matèria in Rome. The show features large-scale paintings from 2017–2018 that distill her recent research. Her works are also on view until November 15 in the group show "The HP Collection" at Operativa Arte Contemporanea, Rome. Mancini discusses her natural shift from childhood drawing to painting, influenced by a family of musicians and artists. She cites early masters like Klimt, Kandinskij, Parmigianino, Veronese, de Chirico, and Carrà, as well as a negative influence from Jeff Koons. Her teacher Cesare Tacchi was pivotal. Her work has evolved from figurative portraits and landscapes to abstraction, isolating the brushstroke as an autonomous sign. She describes color through personal keywords like "goffo" (clumsy), "cupo" (dark), "lezioso" (sweet), and "caramella" (candy). Her earlier narrative, dreamlike works (e.g., "Senza titolo (Il cadavere)", 2011) gave way to a more analytical approach driven by obsession and reaction. She finds inspiration in music—hip hop and techno—and authors like Asimov, Pirandello, and Dario Argento. She prefers acrylic for its fast drying time. Mancini views her painting as self-reflexive and metalinguistic, a response to the "death of painting" discourse. She believes Italian contemporary painting has become easier for younger generations, with the "tear" mended, but artists today remain a question mark.