The triumph of defeat

Esta página también está disponible en: English Català Italiano.

Aground

Aground

2016, oil on canvas, 60x92 cm

Zoom out

Zoom out

2016, oil on canvas 30x30 cm

Zoom in

Zoom in

2016, oil on canvas 30x30 cm

Escape XIII

Escape XIII

2016, oil on canvas, 33x24 cm

Prosthesis

Prosthesis

2017, oil on canvas, 50x40 cm

With smoke

With smoke

2016, oil on canvas, 100x100 cm

Crack

Crack

2017, oil on canvas, 150x120 cm

Ukrainian head

Ukrainian head

2014 - 60x81 cm - Oil on canvas

Airplane crash (Superga, 1949)

Airplane crash (Superga, 1949)

2013 - 114x146 cm - Oil on canvas

Red car

Red car

2013 - 60x80 cm - Oil on canvas

Pig

Pig

2015 - 19x24 cm - Oil on canvas

Glories (Glòries)

Glories (Glòries)

2016, oil on canvas - 41x33cm

Fallen and believers

Fallen and believers

2015, oil on canvas, 38x61cm

Ruins (The day after)

Ruins (The day after)

2016, Oil on board - 29,5 x 21,5 cm

The Hole

The Hole

The hole - 2014, oil on canvas, 15x20 cm

Escapes V-VI-VII

Escapes V-VI-VII

2015 - Oil on canvas, 18,5x24 cm x 3 (triptych)

Ester Quintana /

Ester Quintana /

2014 - 100x100 cm - Oil on canvas - www.ojocontuojo.org

Portrait of a victim of machismo

Portrait of a victim of machismo

2015 - 41x33 cm - Oil on canvas

Le déjeuner sur l’herbe I

Le déjeuner sur l’herbe I

2015 - 16x22 cm - Oil on canvas

Car Crash

Car Crash

2015, oil on canvas, 97x130 cm

Marine with flesh

Marine with flesh

2016 oil on canvas, 24x33 cm

Untitled and imageless

Untitled and imageless

2016, oil on canvas, 24x33 cm

Ali

Ali

2016, oil on canvas, 50x40 cm

The triumph of defeat

The triumph of defeat

2016/2017, oil on canvas, 100x100 cm

She

She

2017, oil on canvas, 100x130 cm

Alfacar, Granada

Alfacar, Granada

2017, oil on canvas, 100x130 cm

Allá donde las playas rotas nos muestran el cielo


Allá donde las playas rotas nos muestran el cielo


2017, oil on canvas, 145x180 cm

El refugi abandonat de Lúa

El refugi abandonat de Lúa

2016, oil on canvas, 81x130 cm

Like a movie

Like a movie

2016, oil on canvas, 80x100 cm

Marine

Marine

2016, oil on canvas, 89x146 cm

Quality check

Quality check

2017, oil on canvas, 117x90 cm

Maremortum I

Maremortum I

2016, oil on canvas, 100x100 cm


The denial of darkness and mortality is characteristic of our era. Surrounded by cracks and ruins, incapable of facing their fears, the somnolent ultraliberal humanity, through technological escalation, seeks refuge in consumerism and entertainment. For this reason, I decided to explore the distressing and tragic territories of denial and shadow through painting. Mass graves, beaten up violators, accidents, waste and dumps, police victims, destroyed effigies, refugees and mutants… my work is a compendium of demise, a collection of material and moral ruins. 
Therefore, in this context, (Un)refuges, my project on exile and uprooting, was conceived from the debris of a former concentration camp and speaks about memory and oblivion and the annihilation of human beings, their identity and their values.

Since then and up to very recently, I was convinced that the ruin was the main concept around which I had been building my imaginary. Not so long ago, I realised that in reality the ruin was not the ultimate goal in my research, but a means to light up the dark journey of defeat. 
Defeat here has two slants. The first is the tragic aspect: the historic defeat, and with it the political, moral and environmental defeats. In the private sphere, we can also include personal defeat, intrinsic to human existence. The individual’s defeat and their concatenation of surrenders takes us to the sublime slant of this journey, where the defeated is celebrated, a condition that requires the force of courage. Finally, at the peak of this itinerary is the defeat of the ego, the last stage of this journey and possibly the start of what will come next.

Apart from some forays into the world of photography, collage, installation and video, my experience is mainly in the field of painting. I find pictorial language an ideal tool for managing emotions without overlooking intellect. The traditional, almost archetypical, visual codes of oil painting allow me to pry open the conscience of the viewer, as a pivot between omen and mourning. In this temporary distortion, post-apocalyptic scenes, ruins from the past, hints of future disasters and memories of tragedies merge together and intertwine forming a cyclical genealogy of the catastrophe, in the centre of which is the viewer, alone facing their mortality.

Marco Noris, January 2017


See also Frederic Montornes‘ text It wasn’t the sun on the homonymous exhibition.