“Even just thinking about being able to imagine a room to think is fascinating. The image of a room that helps us make a disconnection happen is therapeutic rather than suggestive.”

The rooms represented in the works Disconnection Room by the artist Marco Pasqual are almost a projection of a distorted third eye. An almost immersive experience that suggests making space inside us, becoming ourselves an empty container ready to change for the better and capable of welcoming, processing, evolving.

Entering the work Disconnection Room becomes a “liberating” act, it is, letting our thoughts wander uncontrolled in a sort of “lucid estrangement”, a state close to the hypnagogic one, an experience of an oneironaut able to explore and govern his own dream, consciously choosing how to act.

As in the use of mental images in psychoanalysis in the techniques of ‘guided waking dream’ or ‘daydreaming’, the observation of the Disconnection Room constitutes a suggestive representation of the image depicting “entering” the rooms of the mind, it makes us experience the rarefied atmosphere of a space in a suspended time, inviting us to inhabit them to disconnect from reality. It is the representation of a room of silence, a room all for oneself in the brain where nothing can scratch one’s “being” where reality does not exist, a place of quiet, where “the amygdala as a fear detector” calms down, where memory dissolves the memories that had created scars, where the mind calms down and rests, where one can do without language, where sadness disperses and pain dissolves and attention is entirely focused on the care of the soul.

Marco Pasqual’s Disconnection Rooms are proposed as an iconographic stimulus to suggest to the observer to build his own room of freedom, of possibilities, of smiles, a room in which to meet our pioneering self of elsewhere, to bivouac with him at the fire of our gazes, to tell us and share with us in the most communicative silence his existence in the universe that inhabits us.

With the desire to identify a compositional alphabet, in the autonomy of pictorial language itself, in 2022 Marco Pasqual created the Disconnection Rooms. A series of works on wood that allowed the Venetian artist to develop his own method, solving problems of composition and rhythm, in search of a uniform rhythm of forms, in which the color spread in a structural way eliminates three-dimensionality making figure and background a unicum.

The Disconnection Rooms become the starting point for a reflection on pictorial language in which abstract and figurative meet and mix. Starting from the idea that painting is capable of being isolated from what happens outside through geometric shapes, Pasqual transmutes real forms by depriving them of accessory aspects and recombining them opens them to new interpretations.

Once again, it is the geometric shape that dictates the fate of the composition. The square and proportionate polygons, however, leave room for vertical and diagonal lines, for concentric reticular shapes, perspective views in which colors filter from the background of overlapping levels. The works appear as rooms of thought in which environments and spaces overlap in a plane that abandons two-dimensionality in the strict sense, creating thicknesses and surfaces that are sometimes shiny, sometimes rough.

Through a play of chromatic and material ambiguity, Pasqual's works make it difficult to understand the origin of the color and the shapes themselves. The colors are mixed with chalk and silicon powder, all materials that absorb and return light in different ways, the color is given to the wooden board through multiple application techniques and the board itself is the result of a stratification created with the ancient fresco technique.

The result, perceptible only from close up, is a series of compositions in which it is difficult to identify the origin of the shapes and colors.

In the compositions, decorativism and architecture meet, blending almost in an abstract form with a re-proposal of the perception of the self and of reality. The result is a visual synthesis that is the fruit of a rigorous artistic practice and at the same time capable of undermining the assumptions of pictorial discipline: distorting the perception of two-dimensionality, overcoming the limits imposed by the frame, depriving the painting of its own autonomy. Staging the whole above the parts.