The visible gaze, behind the mask and makeup of Venice's Carnival, has led me to a relationship game between observers. This series of photographies was displayed and catalogued in Spain last January. The writer Antonio G. Ribelles wrote in that catalogue, where talks about the symbology of the eye. The eye is recognised as a superior power in all cultures. Is the eye that sees but simultaneously it enlightens. The photographies show the desire to see without being recognised. The "wall-costume" protects you and makes you powerful for a while.
Luis Marino is a non-conformist painter – you can notice that in his work. He is a rather shy rebel who started his artistic path moving from Mazarrón to New York to live an adventure, to watch what happened there, ultimately to learn. There, he joined the GALA group and he participated in six exhibitions. However, I am well aware – since his work speaks for itself - that Luis doesn’t need, like other artists, to travel to remote or exotic countries to fill his retina, to let his work be influenced. His palette is enriched with the colours of Mazarrón, which are incredibly rich in shades and