Marco Tamburro was born in Perugia in 1974.
He graduated in Architecture and Interior Design at the Art Institute of his city; in 1994 he moved to Milan and enrolled in the Course of Interior Design of the Academy of Fine Arts in Brera. Once entered in the artistic environment of Milan, he began to work with photographers and designers as an assistant.
It was not an arbitrary choice, since Marco Tamburro has already accrued a deep interest in the spacious theater, in which he imagines and shapes some pictorial panels by impressing dimensions, leaving at full speed his visionary fantasy.
The Painting and its great expressive power especially fascinated Tamburro. In a time when there are questions about where this art form is going, he is flooded by picture’s expressive power, capable of translating simple images into means of communication. Marco Tamburro reflects on speculation and the versatility of the pictorial form, able to interact with other artistic languages such as theater, photography, furniture, architecture and everything you need to build a theatre installation.
In Milan he exhibits for the first time: his works appear in galleries and alternative spaces of the urban scene, milieus related primarily to fashion and design.
Always attracted from Rome for the countless artistic beauties and from the frenetic metropolitan life, so different from the one of Milan, Tamburro moves there. His passion for the stage can feed copiously here: the artist works with various theater companies. Dedicated full-time to painting, he founds a cultural association that focuses exclusively on visual arts and in 1999 he graduates at the Academy of Fine Arts in Rome.
Beyond qualifications, Marco Tamburro can really complete his training in the capital city: here, surrounded by the wonders and artistic ferment that permeate the city, he can reach a more mature and complete mastery of painting. Introducing in a few years in the Roman artistic jet set, he attends important critics and art dealer, exhibits in several galleries and participates in numerous group exhibitions with his works alongside those of young emerging artists. He receives several prestigious awards and appreciation for his work.
The cultural Roman environment elevates him to a committed artist. Thanks to a diversified speculation on the same theme, Tamburro reflects deeply on daily life, the compulsion to repeat, to the depersonalization of the human being who exists but does not live, engulfed in a whirlwind busy civic existence, cold, separate, that incessantly grease a mechanism alienating and alienated. Time flows at speeds that make it lose all value.
In this scenario, the human figure occupies only a marginal role in his painting: it is the presence of a boundary, a shadow, a specter consumed by time who relentlessly pursues the infinite trajectories of the city, walking on the pedestrian crossing and climbing vertiginous and monumental skyscrapers. The man is inevitably crushed and alienated from this magma that is the metropolis of today, a symbol of the strength of the hostile and aggressive power that dominates it.
The applause and the consensus he receives from collectors and art dealers attract the attention of galleries and public institutions increasingly attracted by his work. Soon arrive significant exhibitions: Biennale of Venice, Macro Rome, Castel dell’Ovo in Naples, Palazzo Penna in Perugia, Palazzo Medici in Florence, Palazzo Frisacco in Udine. It emerges in the foreign market with exhibitions in Miami, New York, Sao Paulo Brazil, China, München in Germany, London and Berlin.
Published by the most important Italian art magazines, the works of this artist have received praise from art critics, writers and members of the art world as Renato Civello, Maurizio Sciaccaluga, Vito Riviello, Luca Beatrice, Enzo Santese Barbara Martusciello Floriano De Santis, Antonio Arevalo, Ennio Calabria, Gianluca Martians and others, which have defined the personal work of Marco Tamburro as effective in conveying his cynical message: an insightful representation who regularly cancels identities, substantiating the contemporary age of alienating depersonalizations in favor of metal urban fabrics.