Alberto Maria Prina’s architectures that emerge in metaphysical spaces and symbolic books will be on show from 5-14 December 2018 at the DVO Learning+Innovation Center

‘Medina’, Libro Fossile di Alberto Maria Prina

The Milanese Learning+Innovation Center of DVO, company that has been producing furnishing systems for functional and livable offices since 1990, hosts at via Maroncelli 5, in the heart of the Brera Design District, Alberto Maria Prina’s solo exhibition, where “unreal characters, fantasies of imaginary journeys and some nightmare” describe the metaphysical painting of a contemporary artist. Born in Milan in 1941, Alberto Maria Prina, a disciple of Alik Cavaliere, worked for a long time in editorial graphic design and product design.

‘Tramonto’ by Alberto Maria Prina (watercolors, 2018, cm 30×30)

These are his ‘Fossil Books’ and ‘Silent Architectures’. The artist’s passion for books powerfully emerges from his works, rich in symbols, underlining the holiness of knowledge: the moment when rationality, mystery and supernatural combine to represent transcendence, as in “the image of the Priest raising high for the believers to see the Holy Book, whether it be the Bible or the Koran”.

‘Silente’ Libro Fossile di Alberto Maria Prina

Prina becomes an “embalmer” of the chosen volumes: he covers and stiffens the book and its pages to preserve its essence. The book, preserved by this timeless fossilization, is now ready for pictorial, decorative or textual interventions, dreamy tales made with delicate watercolors sparsely interrupted by stronger colors, geometric signs, hints of human life. The artist’s works often revolve around imaginary worlds that have been abandoned by those who built there towers, shelters and castles.

‘Torri’ by Alberto Maria Prina (watercolors, cm 38×28)

However, humanity cries out in the suspended silence of Prina’s Architectures: after all, man shaped the environment into industrial scenes dominated by unreal buildings, lacking decorative elements, characterized by false perspectives that recall antique painting. Alberto Maria Prina’s contemporaneity can be perceived in each delicate, synthetic brushstroke, in the sense of emptiness and loneliness, in the scenes – which look like scenery flats – representing urban landscapes and possible realities. [Text Giulia Bruno]