Artists list

Marcello Corrà

Foto Marcello Corrà Born in 1970 in Arona. He graduated at the Art High School in Novara. After attending two years of Psychology in Turin, he started working in his father's workshop developing, since 1995, a particular interest towards metal materials like oxydised iron, copper and lead, then used to realize his first works. This choice also depended upon the meeting with Master Kengiro Azuma. He took part in various solo and group exhibitions in Italy and Switzerland. In 2013 he started cooperating with the PUNTO SULL'ARTE Gallery in Varese and he spent two months in New York. Few months after his return in Italy, thanks to the Gallery in Varese, he started a collaboration with the Kelley Roy Gallery in Miami, where he held an exhibition in 2014. His works belong to private and public collections. He lives and works in Gattico.

Solo exhibitions:

  • 2012 » 7 Vizi capitali, chiesa di Santa Maria, Belgirate (VB), Abbazia di San Nazzaro e Celso, San Nazzaro Sesia (NO), galleria d’arte Aglaia, Omegna (VB)
  • 2008 » La tentazione del crollo, galleria d’arte Arte in cornice, Turino
  • 2008 » Installazione della scultura monumentale “ Verso il cielo”, Gattico (NO)
  • 2006 » Le età del ferro, galleria d’arte Spazio Zero, Gallarate (VA)
  • 2006 » Extrafid s.a. Lugano, TI (Svizzera)
  • 2005 » Lineare, aereo, complesso, galleria d’arte Excalibur, Lesa (NO)
  • 2004 » Insel, galleria d’arte Weine Gallery, Bellach, Solothurn (Svizzera)

Group Exhibitions:

  • 2013 » Kelley Roy Gallery, Miami (USA)
  • 2012 » Galleria d’arte Aglaia, Omegna (VB)
  • 2010 » Extrafid s.a. Lugano, TI (Svizzera)
  • 2010 » Orizzonti verticali, castello di Piovera, Piovera (AL)
  • 2009 » Sorsi di pace, Pollenzo, Bra (CN)
  • 2009 » Sorsi di pace, Pollenzo, Bra (CN)
  • 2008 » Galleria d’arte Arteincornice, Torino
  • 2008 » Estetica, forma e segno, Villa Ponti, Arona (NO)
  • 2007 » Fiera d’arte contemporanea Kun Start 2007, Bolzano
  • 2006 » “Artisti di contrada”, palazzo comunale di Cadro, TI (Svizzera)
  • 2006 » Storie e leggende tra i due laghi, Orta (NO)
  • 2005 » Fiera d’arte contemporanea “Artour-O”, Firenze
  • 2005 » “La forma oltre l’infinito” concorso per scultura monumentale, Milano
  • 2005 » Fiera d’arte contemporanea “Artou-O”, S.Margherita Ligure (GE)
  • 2005 » Realizzazione della scultura “Guardiano dell’oltre” per il centro internazionale di scultura “Museo del Parco” di Portofino, Portofino (GE)
  • 2005 » 3° Biennale internazionale di arte contemporanea “Promoart-Pavia, giovane arte europea”, 1° premio per la sezione scultura.
  • 2005 » Galleria d’arte Excalibur, Lesa (NO)
  • 2004 » Storie e leggende tra i due laghi, Arona (NO)
  • 2002 » Storie e leggende tra i due laghi, Borgomanero (NO)
  • 2001 » Biennale di scultura “Premio Umberto Mastroianni”, Torino
  • 1999 » Uscite di emergenza, Borgomanero (NO)
  • 1998 » Arteggiamenti, Borgomanero (NO)
  • 1997 » Umane tracce, Borgomanero (NO)
  • 1996 » Acqua terra fuoco, Gattico (NO)


  • 2011 » Pubblicazione n. 1
  • 2008 » Pubblicazione n. 2
  • 2008 » Pubblicazione n. 3
  • 2005 » Pubblicazione n. 4
  • 2004 » Pubblicazione n. 5

Alessandra Redaelli

Marcello Corrà. The chant of sculpture

Marcello Corrà is a versatile artist and a man with various interests. After University, by attending his father's workshop, he approached the use of iron, copper and lead: all materials which became the lymph of his sculptures. Moreover, in 2011, he published a novel (Una goccia tra due oceani), a travel journal which tells how his life is more than just his artistic activity. Therefore, sculpture and literature. And music, nonetheless. Born from his many-sided spirit, his light, aerial works carry a dash towards the sky which can be both considered as a pray or as a mystic dance; they also embody a musicality which goes beyond the guitar strings stretched through the sculpture; they convey a surprising sensation which urges us to tease and pluck them. Moreover, after discovering that they really produce sound, we remain speechless and enchanted.

Based upon curvilinear structures, as sinuous as female bodies, Marcello Corrà's sculptures represent the arrival point of a dense and complex path, which started from the classical depiction of the Guerrieri and soon after landed into a powerful abstract through the series Connessioni, which recall ancient weapons. As time went by, his works became more tactile although simultaneously the structure lightened, and in 2010 the 'forerunners' of his most recent works came to life, pooled under the name Harps. Nowadays, the artist has moved a step forward towards a more personal stylization of solid colours, a sort of emotional use of tones. No longer the rough palettes of metal, but rather glowing blu, burning red and neat white are the protagonists of harmonious games played by lines and bends. While within a work like Rituale, the strings seem to be buttresses supporting the structure, or maybe chains imprisoning a force which could suddenly take off, a piece like Armonia e peccato is the embodiment of an arpeggio and of a perfect pas de bourrée made by an étoile. Moreover, whereas Notturna looks like an open mouth singing towards the sky, the Arpa yang reveals Corra's love for oriental art and iconography.

Matteo Galbiati

The latest step of Marcello Corra’s sculpture

According to common thinking, sculpture has a vocation for monumentality: it must insert within the environment, interacting and filling it with its presence. Even though sculpture possesses a minimal nature too, made of little objects and diminished forms, its first aim is to be tied to huge forms: statues, monuments, vast interventions. The chance of working upon huge dimensions and confronting with a widened space is any sculptor’s dream –especially the young ones, unused to this kind of participation-. Marcello Corrà fulfilled his ambition: he finally managed to expand and enlarge its forms, allowing his art to reach monumentality. I keep on saying, when dealing with sculpture –luckily more and more frequently- how this kind of language is still fundamental. Beyond any contemporary technology, which I do not reject nor demonize, I think that sculpture can evoke a comparison between ourselves and matter translated into shapes and contents, indicating a language which is neither alive nor sadly dead, as the remarkable artist Martini said. According to me sculpture is alive; it lives among places and people. It is often more evident than any other form of art, which must be found into specific places, whereas sculpture projects among us, coming into the real world through its manipulation of forms, matters and places. It lies under people’s eyes, through a meaningful relationship with the audience, who perceive it as a moment in every-day life. Sculpture is alive, therefore it is an emotion to add Marcello Corra’s gesture to its history, appreciating his commitment and his effort to be stubbornly tied to this kind of research. I am happy to inaugurate this sculpture for Gattico and I would like to underline how Corra’s language ability is amplified by this work: I had already perceived, within his small sculptures, a particular tension which can now be found unaltered in this expanded work, thus enforcing its potential energies. The audience immediately sense the unpredictable, delicate and fragile inner research of the young artist, which is emphasized by what the artist himself defines as ‘a temptation of collapse’.

The vital energy which melts, dilates, flickers into several metal layers that convey, detain or let his genius burst out, is filled with a sense of precariousness: Corrà plays with the common perception of seeing and feeling. It would be a mistake to focus only upon the strength of this work, given by its material, without considering the dynamism of the shapes that lightens the sense of omnipotence, thus conveying innocent vulnerability. This is how Corrà explains both the fragility of human existence and its deep rooting within life and the world. For the last five years, he has used metal as the main material for his works, handling it with great skill: instead of concealing the material and the technical aids, he emphasizes the layers and the weld joints as if they were symbols of the vitality given to the sculpture, but at the same time he bends and hurts them, since they become cuts and flakes representing existential insecurity. Taking a step back in time, on the occasion of this double event –besides the inauguration of the sculpture for Gattico, the Arteincornice Gallery in Turin is hosting his solo exhibition- we can retrace the chronology and the process of Corrà’s work. The exhibition in Turin perfectly fulfills the artist’s path which leads to the sculpture in Gattico: these two events correlate the three outstanding moments of his action: the project, the attempts, the small sculptures and the big final creation. The exhibition shows the project and the sketches of his sculptures. These drawings and collages are a sort of thinking note, a working draft which fixes the suggestion of his mind: the fast easiness through which volumes and dynamics can be entrapped. The colours and the composition schemes lead the artist to the realization of the small sculptures. A smallness only due to their dimensions, since they seem to own a desire for monumentality, transferred into metal, colours and shapes. The sculpture comes to life, willing to interact with matter through the moulding of its body. Thanks to the combination of these two events, Marcello Corrà has managed to provide a visual documentation of his research, unifying its various parts and moments into a whole. An overall interpretation of a complex research. A sculpture which doesn’t collapse, despite its inner tension.

selected works