* Testimony of Vilma Nöel
Seduced by the painting of Marcos Anthony I could not but express my great hope in his career.
Each new day he expresses himself with virtuosity, spontaneity also with strong and influential features shown in his work.
Key of his puzzles are lost on the bottom of the unconscious of each one of us admirer of his magical invention.
He invents with out hesitation. He creates his world with in a harmonious and chimerical poetic way.
He was born as an “indigo child” with all registered and dressed into spirituality.
A child who can again new and brilliant ideas to each ten seconds. He presented great work from an early age in his child hood showing extreme sensitivity and excess of energy.
It is believed to easily compensate his lack of hearing and consequent verbal expression.
Due to it one can feel his own methods of hearing thanks to the culture level of his enlightened and blessed family who had whole structure to understand him and let him express himself by respecting him with in his limits and opening the doors to encourage him to the know ledge of other artists who Had a poetic accent to his original fishing.
But Anthony was always faithful to that received from his own personality. He was born to shine. He had turned his world in to his own well imaginative, literally following his mission. And I suspect he is visited by renaissance masters during the unknown hours of the night. Florentine, expressionist, cubist surreal… Arrived from ancient times to visit him.
It was love that taught him to paint on a surface what he had felt from the contours of life or yet, as he had revived the memory of other lives, a duality which challenges the artist to express himself through brushstrokes.
Since the very beginning he had maintained commitment to the poetic attitude as source of meaning and had created scenes to instigate our eyes.
Subtle metaphysic images of symbolic puzzles which make us thoughtful an which suggest us marks associated with the passage of time.
Women dancing, geometric women cones and cubes, transparency, scroll works, printed frames, circles, beads, symbols, the sensual and graceful baroque, some dotted and well out lined hieroglyphs, which lead us similarly bet we en painting and poetry, features and winding demarcations of zigzags, formal and informal puzzles understood as evanescent limits of a restless feeling that the artist is a skilled designer and an excellent painter.
He report Brazil in the form of a magical dream offering us the opportunity to review our country beyond our problems in a kaleidoscope of hope and joy which invades us.
In the conflict between the mass culture and the erudite culture, between the sophisticated technique of modern and international and the art and original creator of the popular art, it is the repository of Anthony thematic.
All these aspects collaborating form the flagrant and the nexus that he offers us interpreting works of the great ancestors and present maters.
There are two principles from independent forces in his work: the vital and the myth-biblical. Anthony paints characters evolve on scene of a painterly composition of the texture of a checked and dotted set that defines a very self style.
Then, we found an essentially purity, constituting a phenomenon of expression – before expressing between sings and choreography of colors and shapes are sib without words- which refers only to our own harmony, by contrast referring to the monstrous duplicity in a sequence arranged rhapsody and repetition of scenes suggesting melodic and pictorial arcs which interplay and articulate the dialogue between his paintings of great beauty, dynamism and rhythm.
They are spiritual, original, and colorful and also part of the never-endings story of human life. We are in a sense possessed by the energy that is off.
Anthony has already gained with in his youth a wealth of expressive work speaking through his painting an immediate, intuitive and simple.
This set of works presented here is a testimony to the diversity of words of Marcos Anthony. It enables us to follow the development of this artist who, to our great pleasure, invites us ti discovery by his site, the fabulous word of art that he had created.
Vilma Nöel artist/esculptor based in NYC, USA
* Testimony of Rogério Zola Santiago
Marcos Anthony paints stories and pieces that are scenes from the past by him discovered in books, museums and, of course - personal impressions. And then, centuries reemerge in new clothing, in flicks of a brush that form cloths and patterns, from medieval Europe to colonial Brazil -with references to Picasso (the multiple faces and the expressions divided). In a contemporary figurative, Marcos Anthony goes to New York taking in his luggage one Brazil of impacting reinterpretations. Even without the ability of hearing the world sounds (the artist is deaf), his colors speak of an interior reality in mosaics diluted in pastel colors that glide to polychromy. Candlesticks, curtains, tables of the Empire and the human charade, they all seem to dance under the crafty tailoring of the painter, that amuses himself by seeing the expectator involved in the web of times that he portrays, in a voluptuousness of castles and historical vestiges, carved tables and grasping laces. Egyptian shapes and naive bodies reminds us of greek statues of the archaic period (kouros and kóris, respectively men and women of prominent and painted eyes). Creatures that appear characterized, semi-naked, barefoot, incaic and indian, positioned almost without tridimensionality, in flat images up front and sideways, making one believe in a metamorphosis between different periods of human social evolution, described in a baroque and rococo pictorial interpretation of the world.
Rogerio Zola Santiago, journalist and critic by Indiana University, USA
* Testimony of Oscar D´Ambrosio
Due to the multiplicity of their faces, any representation of Frida Kahlo can sound reductionist. In this aspect, Marcos Anthony the face of the Mexican artist from the perspective in which she is seen in several ways at the same time, both from a frontal and a lateral view. It is a visual resource that seeks to account for a paradigm of art that can be read as female liberation, but also as a symbol of unrestrained passion. The artist's magic and charm lie in having lived an existence ruled by excesses, both of love and pain. Finding images of her in a tropical atmosphere, dressed as a saint or identified as Carmen Miranda are possibilities of a life that has opened up to the world and that, therefore, cannot be found in boxes, but multiplied in portraits, flavors and knowledge.
Oscar D'Ambrosio is post-doc and PhD in Education,
Art and History of Culture, Master Visual Arts,
journalist and art critic.