Mauro Martin is born in Pinerolo in 1954, he attended the Artistic High school and the Polytechnic University in Turin where he achieved the degree in Architecture. At the same time to the course of studies, he attends the studio of Raffaele Ponte Corvo, known Turinese surrealist painter and he tightens bonds with the Venetian artistic world.
In this period (1975/80) his work is centralized on the reinterpretation of the 15th Century in a structuralist key; conjugating this first experience with a neometaphysical conception of the art his painting leads to the “magic realism”.
From 1995, contextually to the formal works, he begins the production of informal or abstract paintings, using ,from the 2006, the photography.
He has begun the pictorial career in 1977, exposing at San Vidal Gallery in Venice, that from this moment takes care of the image of the artist, taking care also of the contacts with the public, the media and the specialized criticism.
He exposed in Venice, Milan, Florence, Rome and Bologna.
Mauro Martin experiments with his photographs, just as in his paintings, a strict formal language of magical fascination. Vegetabls, pots, glass beads imitating condensed drops, pottery, wooden or metal animals, little cars, toy soldiers and other childhood's plays, cakes, books, a vintage radio, an old framed-portrait, a limp-dress: the silent objects of Martin's photographs line up like on a stage, creating a representation ruled by complexed geometrical and prospectical relations. The stage of the magic “theater of objects” ist often a simple shelf, the backstage are refolded paperboards. The only sovereign rule, in this game of formal relations, is the ancient “golden section”, worshipped by Renaissance's masters. Just like in the canvasses of the masters Piero della Francesca and Giovanni Bellini, Martin decides to enlighten his little “theater” with a natural day-light, wrapping and airy. Martin thinks that photography is not only a composition of forms, but also a painting of light. Light creates with grace a metaphisical effect, where the sentimental projections of the artist are not perceived like the obsession of a nightmare, but rather like the evocations (sometimes smiling sometimes suffering) of a memory.
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