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Introduction to the paintings
"Marinelli’s work is the glass, a metonym for a window into and out of the mind. He has borrowed from the Renaissance and Romantic classical traditions and reworked this into a surrealist genre, reminiscent of Magritte. He spends up to two years planning and executing one painting. His work isn’t caught up in the detailed mathematical science of anatomy, but voyages through the unconscious. Fascinated by symbolism, particularly of the Romantic painters, Marinelli has spent five years researching it through art and architectural history, and the work of Carl Jung.

He takes this knowledge, and maps out an image, using symbols to construct the meaning. In ‘Power’, for example, the man is trapped, in his uniform, in his box. The concept of power depicted by Marinelli is a kitsch and flimsy facade of make-believe. The male figure is distanced from the mystical ways of the moon, and the freedom that the earth below offers. He has three ways of escape, he can jump (suicide), slide (childhood), or scale the scaffolding (history). Either way he has to change, or he is resigned to experience nothing.

Marinelli’s images are eerie and confrontational. The figures and architecture are usually painted frontally; few painters use this technique, so immediately the work has a strong impact. As Marinelli explains, it is the antithesis of Cubism because it creates the illusion of only one way of seeing. Then he uses oils which give the painting a rich atmosphere, combined with deep and moody tones. The paint is applied flat and smooth, the light is carefully orchestrated to give texture and a luminous quality. Every aspect is executed to take us a few steps closer to the weirdness of the mind."

Catherin Fisher