MARIO SEPULCRE

10 Gustave-Mario Sepulcre For him, his depictions of his still lifes are a solid vehicle with with to travel towards planes less visible, but yet perceptible in his canvasses. His extreme preoccupation with aesthetics has led him to educate himself intensely on the pictorical techniques of great masters of 15th and 16th century painting. At the moment Sepulcre is working on canvasses and mural art, saying that he enjoys the emo- tions that being faced with a wall provoke. Murals and frescos demand the artist to exhibit some of the virtues sadly lost in the forgotten past, such as discipline, perseverance, humility and most especially, love. His is a technique that is the gesture of spirit and bravery incarnate. A hint of idealism underlies the surrealist appearance of these occasionally grisly scenes, althou- gh they do vaguely recall Arcimboldo’s fanastical allegorical compositions. Similarly they bring a mythological and spiritual component that incites debate and calls one to deep reflection. He prowls around the edges of the human genre, emphasising the banality of the superfluous and earthly over the spiritual, diving deep into the transcendental by incorporating symbolic elements that the artists turns into icons and reinterpreting archetypes of mythology and biblical history. In doing so, he calls the presence the lowly lemon, an element common to practically all his can- vasses.