Marion Pascali

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Marion Pascali was born in England by Cypriot parents. During her studies in the science sector of the Pancyprian Gymnasium in Nicosia, the artist received drawing and painting lessons from the well-known Cypriot artist Andreas Charalambous. Subsequently she studied Painting at the Academy of Fine Arts in Florence under the supervision of the professors and artists F.Farulli and G.Ulivi. In the course of her studies, she was inspired by “Performance Art” which led her not only to the creation of a book ‘object d’art’ and the intention of its audio-visual expression, but also to further studies in the field of theatre. She received an MA award from Kings College and Rada in London in “Text and Performance”. 

For the last thirteen years she works as an art teacher at the Junior and Senior School in Nicosia, whilst concurrently continuing her creative path in the field of the arts. She has in her record two solo exhibitions and has participated in two group exhibitions. 

Publications:  

PASCALI, M. 2x4 = ∞ or of divergence figures. 1st ed. Marion Pascali, 1996. 

PASCALI, M. 2x4 = ∞ or of divergence figures. 2nd ed. Marion Pascali, 1997. 

I never read short biographical notes. 

I find chronological lists of main life events sterile. 

So why should I expect you to read mine?

Again, if the interest is focused on ‘use’, 

(as in to put something in a particular purpose), 

then the list I would provide, would not satisfy your ambition.

I could then leave this space blank. 

Blank like the life spans in which all appearances would proclaim: 

a human body has contracted to the mere sustenance of its breath

states of motionlessness, 

of stases.

Yet the making of the work lies in stasis

and the drawing of the life in its acknowledgement.

I do not declare this a choice.

This is what I have: a hungry body, 

an ever-changing net of multiple needs drafted in the awareness of death.

The search for food is a messy business and invariably tailor made. I dig with scissors into the guts of other bodies and concurrently into mine. The sorting is sedulous and long but shameless. My maintenance stinks of putrefaction. My liberation.

Unlike myths of creation, nothing comes first or second; nor does the word precede the building. Looking for food is blinded by the need, and therefore this biography will not have a culmination. I discover the child because I am in despair; I invent the woman because you are in my way; I force both of us into the artist because there is confinement.

Body wants to grow. I grow in stasis.