Until September 15, 2022, the personal Gardens , edited by Pier Paolo Pancotto and created by the gallery Eduardo Secci, in collaboration with the Municipality of Noto, lives and communicates with the - rooms cloaked in a well-kept decadence cleared of all tinsel - of the sumptuous Sicilian historic building, bringing together the pictorial works of the 'a Roman artist on canvas and both small and large paper.

Palazzo Trigona di Cannicarao

With a façade divided into two horizontal orders and three bodies with a mighty arched portal, Palazzo Trigona was the home of the powerful Trigona family, marquesses of Cannicarao. Today the interior of the eighteenth-century building is divided into two parts: one of the descendants of the Trigona family, the other, owned by the Municipality of Noto, houses various exhibition spaces.

The five rooms that house the works were opened specifically for the Marco Eusepi exhibition after forty years. The artist chose them for the strong relationship that is established between his expressive grammar and the frescoed spaces.

The works rekindle stuccoes and dances

The works, figurative and at the same time abstract, are integrated into the sumptuous halls where once dances were organized in honor of the Queen of Naples, as if they had always been there and only today, stripped of all furniture, objects and musical instruments, reveal their presence. The set of canvases gives life to a sort of large installation that, without interruption, (re) animates the rooms, (re) lighting frescoes, stuccos and decorations of epoch, giving - again - the dance starts.

Traditional natural brushstrokes

Through an artist practice as antique as contemporary, Marco Eusepi proposes an intimate representation of the landscape linked to tradition, where the natural element is studied in its micro and macroscopic aspects: from the detail of a flower to the boundless view.

Faithful to tradition without nostalgia for the past

“Marco Eusepi remains faithful to the tradition without falling into the manner or nostalgia of the past; naturally, without premeditation. In this lies his topicality” explains the editor Pier Paolo Pancotto.

“Without resorting to any premeditated strategy, the harbinger of a response as immediate as ephemeral, he relies on the technical systems which, are always governing the pictorial and graphic research by identifying in them authentic adventure companions, capable, as much as others never, to explicit their own, personal exploration of reality; And, bending them to their aesthetic and intellectual needs, he renews the functions, updating the” concludes the curator.