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Table of Contents

1.Critic by Spaniard Art Critic Pablo Villar Mariscal (Madrid)

2.Critic published at “Art-mine”  attributed to Mr. Alex McCormick (New York)

3.Marcellux latest Exhibitions (2000-2002)

4.Dialogs between Marcellux and his Spaniard critic Pablo Villar Mariscal



 1. Critic by Pablo Villar Mariscal

Marcellux’s origins come from the union of a grandfather from Cataluña, (Spain), and an Italian grandmother from Rome.

He’s been particularly influenced by the art of Kandinsky, Man-Ray and Miró.

His work focuses on the interaction of the mind and the artwork. Men, their myths and symbols are some of the favorite subjects that he chooses to rediscover in a visual language.

He started his work when he was only 10 years old, making ceramic sculptures.

After High school, he studied at U.B.A. University of Buenos Aires, where he got his degree.

Concepts of Marcellux:

"Life is nothing but a mental fight toward our blindness of understanding"- he says

"Art is one of the powerful tools we’ve got to make people win the match".

"Forms, colors, textures and movements are only a quantum of light, without our brain to give them meaning. Being able to see colors and forms and have an internal image or feeling of pleasure or agreement is one of the richest experiences a man can have. It is one of these moments when you realize that life deserves to be lived and that it’s beautiful"

    Marcellux's paintings are strong but not violent. I think that they contain 'cool passion', as the one that happens when a young man has just fall in love with a girl, there is sweetness and passion, but 'restricted', 'restrained'. It’s like a blues, peaceful but passionate at least. Maybe it’s like staring at the sea under the moon in a summer night.

    The colors seem to respect the environment without hurting it. This is not the usual behavior in Mother Nature, which invades the entire scenario if it can. However, there are energy and impulse in the work, and that is what I consider fascinating: The fascinating passion that emerges but makes me feel the harmony of the being at the same time. Marcellux's paintings makes me nervous (in the positive meaning of the world) because I see a challenge for perception in them for people like me, who appreciate when we find a renovation of what we know about art.

We all know that art is a language. The great questions I ask myself after the contemplation of these paintings is: If it is possible the 'cool passion’, the 'moderate impulse'? Can we control our own internal worlds? Should we let the chaos take us and carry ourselves through it's sharpen paths? Marcellux seems to have an answer to my wonders.

Pablo Villar Mariscal  

(Madrid 2000)


2. Critic published at “art-mine”

Marcellux transforms basic shapes and colors into powerful compositions that depict light, shape, power, and mechanized form.

The disparate parts of Marcelluxs work are suspended between ground and foreground. His subject matter seems  vague, but familiar at the same time. The iconography is reminiscent of primitive, or ancient markings, yet seen through the scope of a surrealist lens. But the work feels contemporary, with a reductive palette that places the work in its own realm.

Marcelluxs work seems to speak about enlightenment through an aesthetic experience. His forms are elemental and mystical. They transcend cultural signification to speak about a broad visual experience.

The conception of light as a form is particularly innovative. Marcellux's representations of light are ambiguous and usually objectified rather than reflected. In addition, he uses negative space to show the absence of form and light.

The work depicts environments that allude to feelings or mental states. These environments are created from basic symbols, which maintain a mythical representation on Marcelluxs picture plain. Marcellux has exhibited internationally.

(The article has no signature, but it is attributed to the art critic Mr. Alex McCormick from Art-mine -New York 2001)


3. Marcellux: Last Exhibitions (2002-2000)


Member of IAC. International Art Collective (Amsterdam-Holland/Cataluña-Spain)


Agora Gallery Soho, New York, NY Aug 2001- Aug 2002 Permanent Exposition

The Ninth Life Fine Art Gallery.- United States Virgin Islands Feb 2002- Feb 2003 Representation and  Exposition

Aardvark Fine Art 2002-2003 Agreement for Permanent Exposition 

Summer ArtShow at Galeria Zero Canvis Nous 1 8003 Barcelona Spain

San Francisco International Exposition at San Francisco's Concourse Exhibition Center Ca.

International ArtExpo New York at Jacob Javits Convention Center New York NY

Art Show at Artesanos Art Gallery. 3137 Salzedo St. Coral Gables- Miami Fl.

Marcellux has also got permanent virtual expositions at some WEB galleries as:

Artichoke Gallery (San Diego, Ca.), (Brazil), (Brazil) and , of course, Marcellux’ site.



4. Dialogs between Pablo Villar Mariscal   (Spaniard Art critic) and Marcellux about his work.


P: (refers to Pablo)

M: (refers to Marcellux)



I)                 Dialog about Marcellux’ world


P:    "Own World?” What does it mean?

(Note: "Own World" is an acrylic painting included in "Patterns" serial)


M:    I wanted to make a representation of one of my internal worlds, so it is (one of) my own worlds. "World" in this context means "fantasy" more than planet. But that doesn’t matter at all. What it is more important is what people feel when they look at it. Many people have told me that they see fire, energy, power, movement and the representation of natural forces. All of these viewings are all right.


P:   I see that your picture is strong but not violent. I think that it contains "cool passion", like when you embrace a girl: there is sweetness and passion. It’s like a blues, peaceful but passionate at last. Maybe it’s like watching the sea under the moon. I must say that I "feel" your picture in a strange way.


     I have a question. Do you think that "cool passion" is possible? When I say "cool passion", I mean something cold, self-contained. The colors seem to respect their environment without hurting it, fact that is not typical of Mother Nature, which invades wild everything around it. It is true that there are energy and impulse and that is what looks amazing for me, the fascination of the passion that lightens, but at the same time makes me feel harmony. Your paintings make me nervous, (in the positive meaning of the world), because I see a challenge to perception.


    That's why even I appreciate your definition of art as a language by itself; I think that the author's word may illuminate the viewer into his search of the path, the process of the creation. My question (and forgive me if it is too pretentious) is: ¿Do you believe that is possible the "cool passion", the "moderate impulse"? ¿Shouldn't men be submitted to chaos, the chaos of their own world? ¿Can they control it?


M:  I'd like to tell you that "cool passion" is not a word that I use. In fact this definition belongs to you, but they describe very well the core idea of my work. Ancient Greeks used to ask their gods for a "freedom from love". What they meant, is that they wanted their gods to free them from the unbearable passion, (what it could be seen as the way people during Romanticism thought love should be), to be able to think about and enjoy the true love, which they saw as "prisoner" of the shell of the superficial passion. For them, love and passion were attributes equal to a good spirit, which is best flavored in state of contemplation. This concept has been converted into a visual language in which I have tried to show one own vital, energetic, noisy world, but at the same time, one centered, quiet and self-contained world. These two antagonic concepts have been placed mixed in the visual images of my paintings. I don’t know if I succeed in this task, but I must say that many people has said that they "see" something difficult to explain, but that makes them feel an internal state of excitation.


 (Note: The dialog starts now analyzing the concentric serial of digital paintings and compares it with the "Patterns" acrylic serial.)


   Coming back to your work, I'd like to say that the "cool love" (as a metaphor of Concentric) doesn’t evolve, it is not symmetric nor lineal; it’s the core matter of your world (and perhaps mine), because the is nothing more universal than individual things. I think that cool love is not rational even though we use our intelligence to talk about it. It is just like the chaos that you have drawn. (Note: It is a reference to "Chaos", one of the paintings of the "Concentric" serial)


This Chaos is ordered, it's an ellipse, because... there are something behind the canvas, in the bottom of life, something you feel and that your mind calls "Chaos", the origin of fear and the agony that implies life; the unknown matters...


You build and destroy your love, your world.  You talk about a future continuous and cyclic, maybe absurd, the chapters of life one after the other...


I think that you have painted your internal world before in "Own World" (Note: from de "Patterns" serial). Now thanks to the mixture of visual languages, you have got to draw your life. I think you see a cold breeze in the chaos, a question, a destiny. Your being is clearly hungry of your world, of your destiny, of your cycle. You have an obsession with life, but I wonder... Is there any other thing that could be more appropriate to obsess us?


I have a question in mind... What are there after the build up and destruction of your love? Eternity? The physical integration with the universe (because energy can't be created nor destructed)?. Life is concentric but there is an end. That is linear.


I don't see an end, a finish in your work. Where is your end? Is it in that wagon that Hopper painted (with the passengers frightened inside)?


M:  What you say is true. It is amazing for me that even you use other words different to mines; you are able to understand the main ideas of my work in such an erudite way.


   What is order?  What is Chaos? Does civilization advance with the centuries? Are we now more "civilized" than the stone-age man?


   Is technology synonymous of civilization? Is our life better than it was in the XVII century just because we’ve got electric machines, for example? Is life a fridge and a video console?


   These are some of the doubts I've got. The circle and the concentric concept mean "more of the same". All the time come to us messages that say that humankind advances with the centuries, confusing technology with evolution.


   "Own World" doesn't evolve, as you say: it only changes and mutates all the time, but at last, it is always "more of the same", as life is.


P:  I believe that individuality hasn't changed, and that's important for me. Men feel and dream like they did yesterday, and as Shakespeare wrote, "we are made from the matter of our dreams". "Life is a dream,” Calderon said. We are dreams that dream and that will never change.


I think that is the hart of your work: The organic dream surrounded by the cool love, the self-contained passion of the destiny submitted to the hurricane of Time.


In both "Late 90's" and "Patterns" serial there are also new concepts, which I'd like to enjoy peacefully. (I'm particularly interested in "Triancolors"). I think there is more omniscient impulse in them. They are more premeditated, your mind was less overwhelming but more pragmatic, as if you had found realities that you already knew, and that now, you’d like to capture in the canvas.


Anyway, I want to "penetrate" into them.




II) Dialog about "Relativity" (acrylic from "Patterns" serial)


P: A painting that really like is "Relativity", because it "lightens", it irradiates electricity and human heat. It reminds me a bit to Sam Francis for it's organic quality. The work seems to be alive, as if it were breathing. Why "Relativity"? You seem to show some formulas, some puzzle...

Changing the matter, today I entered in a forum about art and I saw a question that seemed to me fascinating. The main point of discussion was: Is it necessary the philosophical support for painting? They talked about Kandinski as a theorist, and they wandered about the painter versus the philosopher. I think that painters can't just be simple craftsmen. I like your work because you paint your Internal Words and you don't limit your art to "beauties".

In the other hand, I believe that we have to run from excessive intellectualism. Woody Allen says something I love in one scene of "Manhattan". More or less he says: "The brain is the organ most over-valued. Important things must enter from a different point".

I mean: Painting must be pointed towards feelings, perhaps even before it is pointed to the ideas.


Coming back to "Relativity": which idea do you think that is more important: Relativity as a physical concept, the space and time as a curve, or the organic impulse, the inner feeling of that space and time?


M: One thing I find interesting of your critics is that you use certain words (as "organic impulse") that are not mine, but reflect very well the main idea of my work.

By the way, I must tell you that it would be very schematic to do all the works with the same criteria. This is art and not a work made by an accountant.

That's why there are works in which I start with a main idea and I try to develop it in a Visual Language. The main point is then how to tell a story using a visual language. "Own world", "Relativity", "Math path" etc. are examples of this. However, It would be very boring if all the paintings would be like this. There are some other paintings that are based on the "organic impulse", as you say, in the flash flood of life, made just because it's alive...




III) Dialog about Digital Art


P: The first thing that I'd like to thank you is the chance you've given me to analyze your work, because I believe that you open the doors of your soul, that way, and that is fascinating, because I do it with you (Your premises are indispensable for a truly approach). I think your soul is vital and you have very strong abstraction skills.


You practice several visual arts. Can you tell me something about this fact?


M: I have tried several visual languages in my life. I personally started with sculptures and painting. Some years afterwards, I tried fusion glass, digital art, and lately computer animation. There is some times when I want to paint, some other times I want to make a sculpture, and sometimes I want to draw with the computer. I use the technique that most suit my mood in a particular moment. This makes me feel good from the artistic point of view. To be able to express myself in a wide range of ways makes me feel comfortable with myself. I feel that it expands my possibilities.


P:  Let me tell you that I appreciate your use of several visual languages. I think that Visual Artist don’t have to be just merely "craftsmen", but poets. They have to be able to express the meaning and the feeling through all usable media: painting, animation, the computer, and a word...


I have seen your page of digital art and it looks interesting to me. I've seen your serial "Concentric" and I have downloaded it in my own hard disk to meditate about it and enjoy it peacefully (as a good wine).

It seems to have certain mannerist touch, by the mysterious shape of the spin. (The "concentric" that names the serial) The circle (as Jung used to say) talks us about our ego, about our own identity. That circle remembers me the eternal return of Nietzsche, The continuum of matter as the core of matter of Spinoza, that is: Our simple anxiousness of immortality.


The first thing that impacts me from the serial is your second portrait "Chaos". I think that spirals are very particular shapes, which imply a position of internal force that degrades towards the outside. It is like an unreachable nucleus that maybe opens doors to the eternity. I think that your serial talks about the building up of a world, from the Bereshint (Hebrew word that starts the Bible and means Genesis, start) to the night, to fall, the inertia of life that ends the universe creation itself. You know, the expanding universe is inertia; life fighting against death is inertia. That’s why Concentric reminds me to a very special story of the creation.

M: "Concentric" serial, makes reference to life, to the vicious circle of life, the eternal cycle of life, growth, fall and death, which cause a new life that repeats the cycle. Life is concentric. It moves round a natural axis, as if it were a vicious circle. We are only passengers in the train of Mother Nature, just like a rose that navigates slowly in the waters of a powerful river and falls in a turbulence, where it starts to spin round and round for ever. That is the way were life works: just because; because life is that way, even if we like it or not.


P: Your work "Chaos" drives me crazy (in the positive meaning of the expression). Why is there so many kinetic, and those cold, spectrum-like colors, at the same time?

This talks very well about loneliness, of the mystery, but.. Why so much loneliness?

You start the serial with a mosaic of colors that remains the Big Bang, life emerging, the essence in its initial state. And now comes the cold, and however, it carries the movement, the mystery...


After it you introduce energy, fire and passion; reds and more reds, in a pure state but incandescent. Your serial reminds me strongly to a symphony, maybe Stravinsky, with his consecration of Nature.


I'd appreciate if you could talk to me about "Chaos", because it is mysterious, it makes me feel unquiet, it scares me... It is chaos, but that seems to be only an attitude on misunderstanding of frame, the environment, as if you knew there were something but you couldn’t define it. Do you really "see" this environment?


M: There is nothing more frightening that the facts that you can’t define. Chaos scares and frightens because you don't know what it is.

It looks familiar but not; it is not.


Lightening and storms are chaotic for salvage Indians that looks at them in the middle of the wood, but we (modern men) know that they are only natural forces. There is no Chaos. No magic.


In the other hand, you talk about cold and then reds, lots of reds. In the beginning there was nothing. Then it blew up, hot, very hot. It is expanding itself since that moment, and now it gets colder, and colder... and colder...


We are just beggars that wander in a Universe that gets colder... However, it is alive. Here interacts the concept of "cool love" that you always cite. Here there are vital movement and history too, but we still get colder, and colder...


P: You talk about contrasts, your paintings show restraint vitality, the spiritual force guided by... Intelligence, Consciousness?

It seems to be the coldness at the end of the impulse, a universe that gets colder and colder, that gets more homeostatic, more rational. Life, the organic flame, the wish of immortality is shown in the paintings. Death, the limits of that explosion of love end in the rocky shapes of a death blue... You are dieing!! Shouts the painting. You live in a universe that dies a bit every second! There is desolation.


Then comes Mother Nature, and you show a painting full of illusion, of fractals, of symmetry. Isn't Nature Chaotic? Why are there those colors so organic but so monotonous? Maybe Mother Nature does not represent life, but a consciousness of death...


Is there loneliness in your paintings? The lonely man of Pascal and the supreme truth... WE ARE DIEING...


You talk about beggars that are getting colder. It is the final inertia of your serial. I suspect it hides an intention, a chance of Creation (from the natural to the personal and intimate) to survive to that freezing. The inertia makes a rebellion against death. There is anxiety in the inertia, in the integration of life in the process, a heating wish to get warm forever.


IV) Dialog about Animations


P: Your animations look interesting to me, but I must say that they shocked me at the first moment.


I see in your animations a genial combination of two aesthetic languages, a static one and a dynamic one. The paintings were wishing to have life, and you have given to them. Now they have palpitations like a hart. The paintings build-up and destroy themselves in a continuous interaction. I'd rather say it is concentric, as your "concentric " serial; the never-ending return, the cycle, the constant.

I also see geometry in your animations, fractals... Maybe that means the own (internal) world of the painting? (Note: Pablo here plays with the concept of "Own World", acrylic painting from "late 90's" serial)


M: Animation is another technique, different from classic painting. As you say, my work in this field is the fusion of two different visual languages, the synthesis of static and the dynamics.


We are used to see and judge static views. It is easier, easier to understand.


The question is: How can we understand the movement? Where do we go? Where do we come from?


We had talked some time ago about the idea of "cool love" related to the painting on canvas. The question is: How does cool love evolves in time?

Can it be imagined as something symmetric, lineal, and predictable? I think it cannot.


Although some paintings on canvas like "Own world" have been made some years ago, the animation was made this year (Note: 2000 year). This means that we've got here the fusion of two ideas:


In one hand, we've got the concepts of self-contained love, and cool passion, that we shared when we talked about the painting. These concepts are now mixed with the concepts of concentric cycle of being that come from the "concentric" digital art serial. You are right when you say that. Remember that this serial is very recent, because I've made it this year. That's why their core concepts are still flooding in my mind.


In other words, animation is a new perspective of the cool passion described in the paintings, seen with the eyes of the natural and concentric qualities of being that I am experiencing at this moment. (In fact during this year)


Images build up themselves from the chaos, and they return to it in the same way. It is just like life itself that is just a non-permanent fact in the never-ending development of universal chaos. The self-contained passion comes from chaos, and remakes itself from the debris of the vacuum, the non-existence, to develop a shape from the horrible debris of uncounted earlier states. This is just like our passions, which are born from the pieces of our earlier ecstasies, catharsis, importunes and circumstances in a circle without start or ending, which we are arrogant enough to call "Being".



V) Dialog about acrylic serials "Patterns" and "Late 90's" "Triancolors", "The vortex", "Own World" etc:


P: I keep on looking at it ("Triancolors")... It's a mystery. Plenty of harmony, premeditated, simple and perhaps with a world behind. Are they only colored triangles? I am also fascinated by "The vortex". It seems to be a blue storm. Which relation exists between these paintings and your search for a deeper understanding of life? Is there any relationship between the quiet "Triancolors" and the passionate world contained in "Own World"?


M: "Triancolors" may be seen as a very simple painting, or a very complex one. Is up to you.


It represents life itself shown in a visual way. As you say, you can see just colored triangles (a minimalist, naïf or kirsch look, if you want), but it also can be seen as multiple parts that match together and are fighting to their will to make an interrelationship with their closed environment. (That is indeed our own environment, the real and the subjective ones)


The strong and pure colors predominate in the landscape, but we also have lightening greens and reds, that emerge in a vital way and try to get some kind of domination over the others. However, each color is confined to it's own space (as family, work and home are)


Isn't life that way? We desperately try to put colors to our activities... However, they keep on in their space , constrained to their own environment.


Triangles are all the same and all different at the same time. In some way, they are "more of the same". (We have talked before of the meaning of "more of the same"). In the other hand, they are all different from each other, meaning "change, breaking the structures".

As you see, the concentric meaning of time can be seen in many of my works, and keeps on emerging (like a ghost) as a pendulum; elliptical idea, each time you want to scratch in the symbolic meanings of my work.


P: I must say you are right. People live in jails. They themselves are their own jails. The triangles are like a game with identities as players, that are eager to conquer the universe, the eternity. Is “Triancolors” an insatiable feeling of thirst? Thank you to have created something so marvelous.


You talk about colors that survive independent and pure, limited by space and time. I agree. It is the game of identity, the origin of pain and love. Universal love is just a personalization of the world: Everybody feel like me...  Pain join lovers and friends, and the greatest pain of two lovers is the kind of loneliness that Pascal described... "A Man is a being condemned to loneliness". The sorrow of the lovers starts because they realize they are not able to be the other one, or just one and be shared... The sorrow continues when you realize that you can't have all good things of life without all bad things. You can't have an image, but a world. Your consciousness is hungry of eternity, of being. The triangles are different but they share a particular tragedy, they can't be larger than 180º. They are limited by nature.


Human Beings want their personal identity and their global identity as "members of the world". All or Nothing.


You talk about "more of the same", but that is the essence of identity, the cause of the matter... "To be or not to be". That is the great question that has always tortured men made of matter (the matter of dreams, a Hamlet himself). All or Nothing.

The competition to predominate as consciousness, the continuous going by of time, the "more of the same", are just fruits of our own nature, who believes we are the "center of the universe".

Ego?... Maybe. In the other hand, without ego there is no universal love. Could a perfume, a smell love someone? Could you love something that couldn't be seen as a person? What make triangles able to love each other is their shared misery.


M: In the Triancolors' animation, the triangles succeed and they finally break the shape that contains them... And everything goes to hell... The order is only set back when the borders, the shapes, are put again.

(Note: Triancolors and Triancolors' animation are part of "Late 90's serial")


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Last Update: Feb 2002