Renato Mambor

stylization of human features, on the other hand, the participationof the observer inside the artwork was enhanced, notby means of representation, i.e. subjective interpretation, butthanks to an objective sign referring to human condition. Inthose very first attempts was present a creative method pushingto go beyond the character-armour of the individual, be itartist or spectator, to shift attention on a higher level of understanding,which could free the vision from what is superfluous,letting the observer see and consider himself as part of thewhole.The Marker, preceded in 1968 by an astonishing and forerunninginstallation called Fantastic Signs in which the artist“marked” a dozen entrance doors in Roma street in Genoa,laying against them some brooms, back in 1971-72 poses theissue of dualism of realms, still now forcefully emerging in theRain Collectors. The Marker underlined that artistic objectsought not to live in a parallel world, detached from reality, butshould be inserted in the very heart of life, not as aloft andfrozen symbols, but as organic prostheses extending fromthe human being to his surroundings, testing, embracing, andhighlighting them. The experience of Marker should be givencredit for emphasizing the idea of boundary, the magical midterritorythat Mambor has chosen for his own point of viewout on reality. As Mambor always stays in the middle, he setshis own transversal glance on things, transcending individualsto reconnect them to the origin of existence, by occupyingthat mid-territory dividing yet linking heaven and earth, thethreshold between visible and invisible. An active image likethe rain, its collecting and transmission, implies resting upondescending, in the connection between high and low renewsthe awareness of the fusion of everything; energy blasting energy,praxis overthrowing immobility, a song celebrating realityin its every aspect: tiny like a sprouting blade of grass,solemn like the “powerful show” of the Universe.Renato Mambor and his daughter Blu14 15