Stadio Nereo Rocco
Baptismal font of the Parrocchia di Roiano
Vitreous crucifix – Church of Altura
The urban artworks of Enzo E. Mari are created with the same attention and care that the artist dedicates to his paintings.
This path began with the victory of the artistic competition held for the decorations of the capitals and vomitories of the Nereo Rocco Stadium in Trieste. In this occasion, E. Mari created the now iconic T-shirts that decorate the capitals of the north curve of the sports facility.
The idea is to recreate the naturalistic effect of the hanging shirt, as if it were worn and lived; on the other hand, that garment assumes great importance in the life of the Trieste artist. He himself wore those clothes wearing the Triestina jersey, the same sports club, in the representative hockey team. In the installation project by Celli Tognon, with particular appreciation for the artistic achievement by Cellant, Mari was able to bring a work to the Trieste stadium that has now become a symbol for the fans of the citizens.
Also in the stadium there is also a mosaic by Enzo E. Mari which was affixed in one of the entrances to the playing field, it is a figurative and particularly representative one: the subject depicting the cathartic moment of clash between the attacker and the goalkeeper.
This choice is also self-referential since Mari has covered the role of goalkeeper in the National Hockey representative. In this case the creation of the work took place with the same principle of frottage, in this way it was possible to represent the movement with a preponderant plastic effect, with a strong figurative expression in which the drama of the event is emphasized.
The red shirt is once again the fulcrum of the image and attracts the observer’s gaze while the rest of the pictorial narrative is represented in black and white. An artistic artwork by Enzo E. Mari is present in the church of SS. Ermacora and Fortunato of Roiano in Trieste.
Here the artist created an intervention relating to the baptismal font, the work appears as if it were a jet of water that permeates the wall and as if it were the flow of the Roia, the glass water flows into the church. It is in fact a glass mosaic, the various fragments were carved individually and set up by means of a vertical apposition, placed flat next to each other.
The various parts were made of clay models, then placed on cardboard in turn cut and numbered to maintain the studied positioning. The crucifix of the Church of Altura, also in Trieste, placed above the altar was also made with the same technique.
In addition to the figurative representation, the cross itself was made of glass in order to exploit the light coming from the bottom of the apse through transparency.